PALACES  AND  COURTS 

OF  THE 


r- 
r- 


JULIET 


PALACES  AND  COURTS 

OF  THE 

EXPOSITION 


HANDBOOK  OF  THE  ARCHITECTURE 
SCULPTURE  AND  MURAL  PAINTINGS 
WITH  SPECIAL  REFERENCE 
TO  THE  SYMBOLISM 


BY 
JULIET  JAMES 


SAN  FRANCISCO 
CALIFORNIA  BOOK  COMPANY 

1915 


/V  4114 


Copyright  11)15 

by 
JULIET  JAMES 


SAN  FRANCISCO: 
Taylor,  Nash  &  Taylor 


A  FOREWORD 


THE  PASTEL  CITY  BY  THE  SEA 

There  is  a  hill-crowned  city  by  a  silver  sea,  near 
a  Golde/n  Ga$e.  For  ages  the  water  has  washed 
from  an  almost  land-locked  bay  against  this  hill- 
crowned  city,  and  on  its  northern  side  has  created 
of  the  shore  an  amphitheatre  stretching  for  some 
three  miles  to  the  western  headlands. 

Behind  this,  amphitheatre  rises,  in  terraces,  the 
steep  hills  of  this  water-lashed  city,  and  in  part,  a 
forest  of  pines  stretches  to  the  west.  Man  lias 
flanked  this  reach  of  shore  by  two  lowering  forts, 
and.  in  front,  across  the  sapphire  sea,  one  looks 
onto  the  long  undulations  of  Idlls,  climaxed,  by 
grand  old  Tamalpais. 

Just  three  years  ago  and  one  saw  in  tins  same 
low-lying  shore  only  a  marshy  strelcli,  with  lagoons 
working  their  way  far  into  the  land — the  home  of 
the  seagull. 

There  came  a  time  when,  had  you  looked  closely, 
you  would  have  seen  coming  thru  the  Golden  Gate 
a  phantom,  flotilla  of  caravels,  freighted  with  clever 
ideas. 

On  tltc  vessels  came,  and  at  the  prows  were  sev- 
eral noble  figures:  Kucr.gf/,  Enterprise,  Youth,  the 

3 


300407 


Spirit  of  tHe  Ed'st,^the  Spirit  of  the  West,  Success, 
t  cqravef,\the  stalwart  Mother  of  To- 


They  had  dug  and  delved  with  miglity  Hercules 
and  Jkad  created  that  great  gap  that  has  severed 
two  continents.  Then,  leaving  their  work  to  be 
finished,  they  had  sailed  on  to  celebrate  their  tri- 
umph in  the  Land  of  El  Dorado,  the  region  of  their 
desires. 

In  a  shallop  in  front  of  these  floating  winged 
vessels,  riding  on  the  waves,  came  Venus,  rowed 
by  the  fairies  —  in  her  hand  the  golden  ball  of  op- 
portunity. 

The  mermaids,  the  dolphins,  the  little  sea-horses 
sported  in  the  wake  of  these  vessels,  leaving  a  long 
line  of  foam  and  silver  as  they  sped  on. 

Over  the  waves  they  came  to  the  Golden  Land 
of  the  Pacific.  They  moored  their  vessels  by  the  fort- 
flanked  shores,  and  stepping  out  upon  the  haunt  of 
the  seagull,  they  moved  boldly  across  this  unsightly 
stretch  of  ivave-washed  land. 

Enterprise  and  Energy  pushed  ahead:  the  Fairy 
ever  flitting  near.  At  a  signal  from  Enterprise  the 
Fairy  turned  her  w'heel,  Venus  threw  her  golden 
ball  of  opportunity,  and  lo!  out  of  the  foam  of  the 
sea  rose  a  Venus  city  with  the  round  sea  bubbles 
resting  on  the  roofs. 

One  day  a  man  appeared  on  the  hilltop  o'er- 
looking  tliis  wondrous  city  and  by  his  magic  power, 
being  filled  with  music,  with  color-music,  he  cast  a 
spell  and  behold  a  pastel  city  by  the  sea  —  such  an 

4 


one  as  only  those  who  dream  could  think  of;  a 
city  glowing  with  warmth  of  color,  with  a  softness 
and  mystical  charm  such  as  only  the  brain  of  Jules 
Guerin  could  produce. 

He  is  the  conductor  of  this  wondrous  symphony, 
this  beautiful  Mozart  fantasia,  and  if  you  listen, 
you  can  hear  the  strains  of  the  great  beautiful  melo- 
dies wafted  now  east,  now  ivest,  now  north,  now 
south,  rising  to  great  climaxes,  falling  back  to  great 
chords  of  harmony,  or,  in  an  allegro  movement, 
causing  you  almost  to  trip  with  delight  in  the  joy 
of  it  all. 

Your  eye  is  enthralled  with  the  beauty  of  the 
coloring.  One  sees  turquoise  green  domes  floating 
in  a  silver-moated  ether,  long  colonnades  of  glacial 
ice  columns  leading  to  regions  beyond,  where  quiet 
silver  pools  throw  back  the  mirrored  glories. 

Battalions  of  daffodils  holding  their  long  sabers 
stand  in  the  South  Garden,  making  ready  for  the 
great  festival.  Soon  those  daffodils  will  raise  their 
golden  trumpets  and  will  sound  the  fanfare  at  the 
opening  of  the  Great  Jubilee,  and  up  will  spring 
tico  hundred  thousand  wide-eyed  yellow  pansies 
to  look  and  wonder  at  the  marvelous  beauty  and 
help  in  the  hallelujah  chorus  that  will  be  one  great 
pceon  of  joy — one  splendid  hymn  of  praise. 

And  the  blue  eucalypti  against  the  walls  will 
lend  their  voices,  the  yellow  acacias  will  add  their 
cadences;  while  down  by  the  great  lagoon,  ten 
thousand  periwinkles  will  dance  for  joy. 

Far  out  on  the  waters  icill  be   intoned  to   the 


rhythm  of  the  waves  a  chorus  from  white-robed 
water -lilies,  who,  like  a  throng  of  choristers,  will 
send  their  anthems  rippling  over  the  sun-hissed 
loaves. 

The  Spirit  of  the  East  that  has  added  its  domes, 
its  minarets,  its  soft-glowing  colors,  will  remain  and 
join  hands  with  the  Spirit  of  the  West,  that  strong, 
pulsating,  energetic  spirit,  and  the  harmony  pro- 
duced will  vibrate  from  the  shores  of  the  Occident 
to  the  shores  of  the  Orient  and  bri  /  about  a  bet- 
ter understanding,  a  great  world  peace. 

And  the  world  will  come  to  listen.  The  great 
music  will  sound  across  the  waters,  and  the  world 
will  be  the  better  in  its  way  of  thinking,  of  work- 
ing, of  living — and  all  because  of  the  great  beauty. 

Wonderful  is  it  to  be  living  today,  to  have  the 
opportunity  of  watching  the  beginning  of  this 
mighty  growth;  to  be  present  at  one  of  the  world's 
greatest  events. 

And  the  pastel  city  by  the  sea  will  not  leave  us. 
Jor,  as  the  years  go  on,  whatever  be  our  mission, 
the  vision  of  this  dream-city  will  float  before  us. 
leading  us  to  finer,  higher  works,  strengthening  our 
ideals,  and  causing  us  to  give  only  of  our  finest  fiber. 


TABLE  OF  CONTENTS 

Page 

Foreword— The  Pastel  City  by  the  Sea  .  .  3 

Ground  Plan  of  Palaces  and  Courts  ...  10 

Key  to  Ground  Plan  of  Palaces  and  Courts  .  11 
Prayers  at  Opening  of  Exposition  .  .  .  12-14 

Chiefs  of  Departments 15 

Architecture  and  Architects  .....  16 

Materials  of  the  Palaces  .  .  .  '  .  .  .  .  17 
Material  of  the  Statues  .  /  .  .  .  .  .'18 

Sculptors  and  Mural  Painters 19 

Machinery  Palace       .      .            ....      .  21 

Palace  of  Varied  Industries  ....      .      .  25 

Flora  of  the  Avenue  of  Progress  and  the 

Avenue  of  Palms       ....      .      .      .    ...  29 

Palace  of  Manufactures  and  Palace  of  Liberal 

Arts      .      .      .      ...      .      .      ...      .      .  33 

Palace  of  Education  .      .      .      ...    \      .      .  35 

Aisles  between  the  Palaces  .      .      .      »      .      .43 

Court  of  the  Universe     .      .      .      .      .      .      .  47 

Cosmical  Side  of  the  Court  of  the  Universe  .  47 

Human  Side  of  the  Court  of  the  Universe  .  .  55 

Historical  Side  of  the  Court  of  the  Universe  .  63 

Ethical  Side  of  the  Court  of  the  Universe  .  .  71 

Floral  Side  of  the  Court  of  the  Universe  .  .  72 

Festival  Side  of  the  Court  of  the  Universe  .  73 

7 


Tower  of  Jewels .77 

Jewels  on  the  Tower  .      .      .      .      .      .      .      .80 

Column  of  Progress     .      .      .      ...      .      .     83 

Court  of  the  Ages 87 

North  Court  of  the  Ages 101 

Court  of  the  Four  Seasons 103 

Court  of  Palms       .      . 119 

Court  of  Flowers .      .      .   123 

Italian  Towers       .      .      .      .      .    ' .      .      .      .129 

Palace  of  Fine  Arts   .      .      .      ....      .   133 

Palace  of  Horticulture      .      ...      .      .      .   143 

South  Gardens 147 

Festival  Hall    .      .      .      .      .      .      .'.'..   151 

Colors  154 


LIST  OF  ILLUSTRATIONS 

Page 

Machinery  Palace 20 

Palace  of  Varied   Industries 24 

Portal  of  the  Palace  of  Varied  Industries     ....      26 
Portal  of  the  Palace  of  Liberal  Arts  .      .      .      .      .      .32 

West  Side  of  the  Palace  of  Education 36 

"  Thought  "    (by  Kalph  Stackpole) 38 

Portal  of  all  the  Palaces  facing  North 42 

Court   of  the   Universe 46 

•'  The  Eising  Sun  "  (by  A.  A.  Weinmann)    ....      48 
'Descending  Night"   (by  A.  A.  Weinmann)    ...      50 

'Earth"    (by  Kobert   Aitken) 54 

'  The  Genius  of  Creation  "   (by  Daniel  C.  French)      .      56 
'  The  Nations  of  the  Occident  "  (by  CaJder,  Roth,  and 

Lentelli) 60 

"  Youth  "  (by  Edith  W.  Burroughs) 68 

Part  of  "  Fountain  of  El  Dorado  "  (by  G.  V.  Whitney)      70 

Tower  of  Jewels 76 

North  Court  of  Court  of  the  Universe 82 

"  The  Adventurous  Bowman  "  (by  H.  A.  McNeil)   .      .      84 

Court  of  the  Ages 86 

''Water"    (by   Frank   Brangwyn) .90 

Panel  of"  The  Fountain  of  the  Earth  "  (by  E.  Aitken)      94 

Court  of  the  Four  Seasons 102 

"  The  Feast  of  the  Sacrifice  "  (by  Albert  Jaegers)      .    104 
"  The  Fountain  of  Ceres  "  (by  Evelyn  B.  Longman)      .   106 

The  Emerald  Pool      .      .      .   " 112 

"Winter"   (by  Furio  Piccirilli) 114 

Eastern  Gateway  of  Court  of  Four  Seasons  .      .      .      .116 

Court  of  Palms .    118 

"  The  End  of  the  Trail  "  (by  James  E.  Fraser)        .      .    120 
"  The  American  Pioneer  "    (by  Solon  Borglum)      .      .126 

Palace  of  Fine  Arts 132 

Corner  of  the  Palace  of  Fine  Arts  . 134 

Panel  of  "  Pegasus  "  (by  Bruno  Zimm) 136 

Palace  of  Horticulture 142 

"The  Fountain  of  Energy"    (by  A.  Stirling  Calder)    148 
Festival    Hall ' 152 

9 


KEY  TO  GROUND  PLAN  OF  PALACES  AND  COURTS 

1.  Machinery  Palace. 

2.  Palace  of  Varied  Industries. 

3.  Palace  of  Manufactures. 

4.  Palace  of  Transportation. 

5.  Palace  of  Mines  and  Metallurgy. 

6.  Palace  of  Liberal  Arts. 

7.  Palace  of  Education  and  Social  Economy. 

8.  Palace  of  Food  Products. 

9.  Palace  of  Agriculture. 

10.  Palace  of  Fine  Arts. 

11.  Palace  of  Horticulture. 

12.  Festival  Hall. 

13.  Court  of  the  Universe. 

14.  Court  of  the  Four  Seasons. 

15.  Court  of  the  Ages. 

16.  Column  of  Progress. 

17.  Fountain  of  Energy. 
13.  Tower  of  Jewels. 

19.  Avenue  of  Palms. 

20.  Administration  Avenue. 

21.  The  Esplanade. 

22.  Avenue  of  Progress. 

23.  The  Pool. 

24.  The  Marina,  or  North  Gardens. 

25.  South  Gardens. 

26.  Court  of  Palms. 

27.  Court  of  Flowers. 

28.  Aisle  of  Spring. 

29.  Aisle  of  the  Setting  Sun. 

30.  Aisle  of  the  Rising  Sun. 

31.  Unnamed  Aisle. 

32.  Ferry  Slip. 

33.  The  California  Building. 

34.  Fillmore-Street  Entrance. 

35.  Scott-Street  Entrance. 

36.  Baker-Street  Entrance. 

11 


The  prayer  of  Bishop  Nichols  of  the  Episcopal 
Diocese  of  California,  given  at  the  Opening  of  the 
Exposition. 

The  Blessing  of  God  Almighty,  the  God  of  the  Ages,  the 
God  of  the  Oceans,  the  God  of  the  Continents,  the  God  of  the 
Genius  of  man  and  the  God  of  every  Exposition  of  human 
achievement  and  progress — the  Blessing  of  God  Almighty, 
the  Father,  the  Son  and  the  Holy  Ghost,  be  upon  you  and 
remain  with  you  always. 

Amen. 


12 


The  148th  Psalm  read  by  Rabbi  Meyer  of  San 
Francisco  at  the  Opening  of  the  Exposition. 

Praise  ye  the  Lord.  Praise  ye  the  Lord  from  the  heavens ; 
praise  Him  in  the  Heights. 

Praise  ye  Him,  all  His  Angels;  praise  ye,  all  His  hosts. 

Praise  ye  Him,  sun  and  moon;  praise  Him  all  ye  stars 
of  light. 

Praise  Him,  ye  heaven  of  heavens,  and  ye  waters  that  be 
above  the  heavens. 

Let  them  praise  the  name  of  the  Lord;  for  He  com- 
manded and  they  were  created. 

He  hath  also  established  them  for  ever  and  ever;  He 
hath  made  a  decree  which  shall  not  pass. 

Praise  the  Lord  from  the  earth,  ye  dragons,  and  all  deeps. 

Fire  and  hail,  snow  and  vapors;  stormy  wind  fulfilling 
His  word; 

Mountains  and  all  hills;  fruitful  trees,  and  all  cedars; 

Beasts  and  all  cattle ;  creeping  things  and  flying  fowl ; 

Kings  of  the  earth  and  all  people;  princes,  and  all  judges 
of  the  earth. 

Both  young  men,  and  maidens;  old  men,  and  children. 

Let  them  praise  the  name  of  the  Lord;  for  His  name 
alone  is  excellent;  His  glory  is  above  the  earth  and  heaven. 

He  also  exalteth  the  horn  of  His  people,  the  praise  of  all 
His  saints;  even  of  the  children  of  Israel,  a  people  near  unto 
Him.  Praise  ye  the  Lord. 


13 


The  prayer  of  Bishop  E.  J.  Haima  of  the  Catholic 
Diocese,  given  at  the  Opening'  of  the  Exposition. 

O  God  of  our  Fathers,  in  Whose  power  are  the  destinies 
of  men,  in  Whose  hands  are  the  ends  of  the  world,  look  down 
with  loving-kindness  on  Thy  children  here  gathered  in  Thy 
Name.  From  the  uttermost  bounds  of  the  earth  have  we  come 
to  commemorate  one  of  man's  greatest  achievements  adown 
the  ages.  Make  us,  Thy  children,  realize  that  Thou  art  the 
source  of  light  and  of  inspiration;  make  us  realize  that 
great  things  are  wrought  through  Thee  alone. 

To  the  city  of  St.  Francis,  enthroned  in  beauty  by  the 
western  sea,  give  the  grace  of  kindly  hospitality,  the  blessing 
of  an  ever-widening  vision  of  true  greatness,  a  faith  and  a 
hope  that  know  not  failure.  To  our  glorious  California  give 
abundance  of  harvest,  a  bounteous  plenty  of  Thy  treasures 
and  a  valiant  race  of  men  blessed  in  the  knowledge  and 
sanctified  in  the  observance  of  Thy  law.  To  our  favored 
land,  which  is  from  sea  to  sea,  vouchsafe  strength  and  unity 
and  that  peace  which  the  world  cannot  give.  Make  us  feel 
that  the  mighty  City  of  God  rises  sublime  through  the  cen- 
turies only  when  built  on  the  foundations  of  justice  and  of 
truth ;  and,  finally,  to  all  the  nations  here  represented,  grant 
a  vision  of  the  highest  things  of  life — of  the  things  that 
make  for  true  progress,  for  real  brotherhood,  for  lasting 
union,  for  unfailing  love,  for  mighty  achievement  in  time, 
and  for  that  glory  which  is  everlasting. 

Amen. 


14 


THE  CHIEFS  OF  DEPARTMENTS 

Architects — Mr.  George ,  Kelham  of  San  Francisco. 

Sculptors — Mr.  Karl  Bitter  of  New  York  and  his 
able  manager,  Mr.  A.  Stirling  Calder  of  New 
York. 

Painters — Mr.  Jules  Guerin  of  New  York. 

Illuminators — Mr.  W.  D'Arcy  Ryan  of  San  Fran- 
cisco and  Mr.  Gny  Bailey  of  Berkeley,  Cal. 

Landscape  Gardening — Mr.  John  McLaren  of  San 
Francisco  and  his  son,  Donald  McLaren. 

Inscriptions — Selected  by  Mr.  Porter  Garnett  of 
Berkeley,  Cal. 

Material  for  Buildings  was  originated  by  Mr.  Paul 
E.  Denneville  of  New  York. 


15 


ARCHITECTURE  AND  ARCHITECTS 

Manager-in-Chief  —  Geo.  Kelham  of  San  Francisco. 
Court  of  the  Universe  —  McKim,  Meade  and  White 

of  New  York. 

Tower  of  Jewels  —  Thomas  Hastings  of  New  York. 
Court  of  the  Ages  —  Louis  Christian  Mullgart  of 

San  Francisco. 
Court  of  the  Four  Seasons  —  Henry  Bacon  of  New 

York. 

Court  of  Flowers         )  ^       T_.  ., 
Court  of  Palms  I  Gco-Kelham  of  San 

The  Italian  Towers      )        Francisco. 
Column  of  Progress  —  Symmes  Richardson  of  New 

York. 
Machinery  Palace  —  Clarence  Ward  of  San  Fran- 

cisco. 

Palace  of  Varied  Industries 
Palace  of  Mines 
Palace  of  Manufactures 
Palace  of  Transportation 
Palace  of  Liberal  Arts 
Palace  of  Education 
Palace  of  Agriculture 
Palace  of  Food  Products 
A  Iso  all  portals  and  aisles          ) 
Palace  of  Fine  Arts  —  Bernard  E.  Maybeck  of  San 

Francisco. 
Palace  of  Horticulture  —  Bakewell  and  Brown  of 

San  Francisco. 
Festival  Hall  —  Robert  Farquhar  of  Los  Angeles. 

16 


_1T  ,     -^     .,,      P 
W-  B-     avi11    of 

ban 


MATEBTA:  ?  OF  THE  PALACES 

The  °rs,  as  well  as  all  of  the  statuary,  are 

made  01  annual  travertine,  of  a  smoked-ivory  tone. 

7?ea£  travertine  is  found  in  and  around  Rome, 
especially  at  Tivoli. 

It  is  a  pure  carbonate  of  lime,  a  creamy  white 
deposit  formed  from  dripping  water,  in  stratified 
form,  with  cavities  and  fissures  lined  with  crystals. 

The  Colosseum  and  St.  Peter's  at  Rome  are  both 
made  of  this  material. 

The  imitation  travertine  made  with  concrete,  and 
used  in  the  second  story  of  the  Pennsylvania  Sta- 
tion in  New  York  in  combination  with  real  traver- 
tine of  the  first  story,  was  invented  by  Mr.  Symmes 
Richardson  of  the  firm  of  McKim,  Meade  and  White 
of  New  York.  He  also  brought  the  real  travertine 
to  America  to  have  it  used  for  the  first  time  in  a 
large  building,  the  Pennsylvania  Station. 

Mr.  Paul  Denneville  of  New  York  has  most  suc- 
cessfully made  a  plastic  travertine,  composed  of 
gypsum  from  Nevada  combined  with  hemp  fiber 
and  a  coloring  pigment,  which  has  been  applied  to 
all  of  the  Exposition  buildings,  producing  a  most 
pleasing  glareless  background  under  the  sunny  skies 
of  San  Francisco. 

The  roofs  are  covered  with  i-  litatio^  /»70s,,sinee 
real  tiles  would  be  too  exp<  V  1.01  Exposition 
purposes. 


17 


MATERIAL  OF  THE  STATUES 

The  architectural  statues — that  is,  those  directly 
connected  with  the  architecture — are  of  smoked- 
ivory  tone,  so  that  you  see  them  as  part  of  the 
architectural  scheme. 

Those  far  away  from  the  eye,  used  as  free  statues, 
are,  in  the  main,  golden. 

Those  nearer  the  eye  simulate  bronze,  the  special 
color  that  seems  worked  out  from  the  color  of  the 
blue  eucalyptus.  . 

•  All  the  statues  of  the  Exposition  palaces  and 
courts  are  of  travertine,  the  material  of  which  the 
buddings  are  made. 


SCULPTORS 
(The  numbers  indicate  the  otlier  works  by  the  same  sculptors 

to  be  seen  in  the  Fine  Arts  Palace.) 

Adams,  Herbert  (3)  Laessle,  Albert  (21) 

Aitken,  Eobert  (9)  Lentelli,  Leo 

Bateman,  John  Longman,  Evelyn  Beatrice  (4) 

Beach,  Chester  (1)  MacNeil,  Hermon  A.  (2) 

Borglum,  Solon  H.  (1)    ,  Manship,  Paul  (10) 

Boutier,  E.  L.  Newman,  Allen 

Bufano,  B.  Niehaus,  Charles 
Burroughs,  Edith  Woodman  (4)  Patigian,  Haig  (7) 

Calder,  A.  Stirling  (5)  Peters,  C. 

Cummings,  Earle  Piccirilli,  Furio  (2) 

Ellerhusen,  Ulric  H.  (2)  Putnam,  Arthur 

Elwell,  Frank  Edwin  Roth,  Frederick  G.R.  ( 12) 

Flanagan,  John  (3)  Rumsey,  Charles  Carey  (8) 

Fraser,  James  Earle  (7)  Stackpole,  Ralph  W.  (4) 

French,  Daniel  Chester  (4)  Stea,  Cesare 

Fry,  Sherry  (2)  Tonetti,  F.  M.  L. 

Gerlaeh,  Gustave  Walters,  Edgar  (1) 

Gruppe,  Carl  Weinert,  Albert 

Harley,  C.  R.  Weinmann,  Adolph  A.  (9) 

Humphries,  C.  H.  ( 1 )  Whitney,  Gertrude  Vanderbilt  ( 1 ) 

Jaegers,  Albert  (1)  Young,  Mahonri  (9) 

Jaegers,  August  Zimm,  Bruno  L. 
Konti,  Isadore  (6) 

MURAL  PAINTERS 
(The  numbers  indicate  the  other  works  by  the  same  artists  to 

be  seen  in  the  Fine  Arts  Palace.) 
Bancroft,  Milton  Holloway,  Charles 

Brangwyn,  Frank  Matthews,  Arthur  F.  (14) 

Dodge,  William  de  Leftwich       Reid,  Robert  (3) 
Du  Mond,  Frank  Vincent  (6)     Simmons,  Edward 
Hassam,  Childe  (37) 


19 


MACHINERY  PALACE 

ARCHITECT — Clarence  Ward  of   San  Francisco. 

The  palace  is  one  of  grandeur,  dignity  and  great 
beauty. 

The  architecture  has  been  inspired  by  such  old 
Koman  thermae  as  the  Baths  of  Caracalla,  the  Baths 
of  Titus  and  the  like. 

The  ornamentation  is  of  the  Italian  Renaissance 
style,  worked  out  on  a  building  that  in  form  suits 
the  needs  of  a  great  palace  of  machinery. 

The  gable  points  at  the  top  of  the  western  facade 
are  such  as  one  sees  in  the  restoration  of  the  Baths 
of  Caracalla. 

The  first  and  only  other  expression  of  this  style 
in  America  is  seen  in  the  Pennsylvania  Station  of 
New  York  City. 

In  the  Transportation  Palace  can  be  seen  a  model 
of  the  proposed  plan  for  a  new  Union  Depot  for 
Chicago,  with  a  similar  gabled  effect. 

The  three  arches  reflect  on  the  exterior  the  three 
aisles  of  the  same  portion  of  the  palace  within. 

The  great  columns  in  front,  and  also  in  the  vesti- 
bule, simulate  Siena  marble. 

The  entablature  carried  across  the  faces  of  the 
21 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

arches  supports  American  eagles  by  C.  A.  Humph- 
ries. 

Eagles  are  also  seen  at  the  corners  of  the  Corin- 
thian capitals.  This  bird  of  freedom  can  be  found 
all  over  the  Exposition. 

Notice  that  Mr.  Jules  Guerin,  the  great  color  wiz- 
ard, leads  you  by  means  of  the  blue  ground  of  the 
capitals,  the  blue  between  the  dentils,  the  blue  be- 
tween the  consoles  to  the  blue  sky  above. 

The  principal  lighting  is  by  great  clerestory  win- 
dows— great  windows  at  the  north  and  the  south 
ends — also  by  skylights. 

The  building  covers  nine  acres,  and  is  the  largest 
wooden  structure  in  the  world.  It  is  about  three 
blocks  long. 

The  statues  as  well  as  the  reliefs  are  by  Haig 
Patigian  of  San  Francisco. 

Vigorous  types  like  machinery  itself  are  used. 

The  generation,  transmission  and  application  of 
power  as  applied  to  machinery  are  most  interesting- 
ly represented. 

The  decorated  drums  of  the  columns  show  the 
Genii  of  Machinery. 

The  eyes  of  these  figures  are  closed,  reminding 
you  that  power  comes  from  within. 

Notice  how  from  any  point  of  view  your  figures 
suggest  support  at  the  sides  of  the  drum. 

22 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  very  position  of  the  arms  gives  you  a  strong 
feeling  of  support. 

The  figures  on  the  spandrels  represent  the  appli- 
cation of  power  to  machinery. 

The  figures  on  the  pedestals  represent  : 

1.  "  Steam  Power  "  with  the  lever  that  starts  the 

engine. 

2.  "  Invention  "  showing  a  more  intellectual  type 

of  face,  carrying  the  figure  with  wings  spread, 
suggesting  the  flight  of  thought.  This 
thought,  as  it  were,  is  above  the  world. 

3.  "  Electricity  "  with  foot  on  the  earth,  suggest- 

ing that  electricity  is  not  only  in  the  earth, 
but  around  it.  He  carries  his  symbol,  elec- 
tricity. 

4.  t{  Imagination/'    showing    man    with    his    eyes 

closed — seeing  within.     The  bird  of  inspira- 
tion, the  eagle,  is  about  to  take  flight. 
The  wings  on  the  head  suggest  the  rapidity  of 
thought  or  action. 

Inside  this  great  palace  one  sees  the  latest  inven- 
tions in  machinery.  Ponderous  machines  capable 
of  shaping  tons  of  metal,  great  labor-saving  ma- 
chines, and  all  sorts  of  electrical  appliances.  "Safe- 
ty first"  is  a  pronounced  feature  of  this  exhibit. 


23 


PALACE  OF  VARIED  INDUSTRIES 

ARCHITECT- — W.  B.  Faville  of  San  Francisco. 

The  high  walls,  averaging  seventy  feet  to  the  cor- 
nice, with  their  respective  buttresses,  are  strongly 
suggestive  of  tl  e  California  missions  of  the  eight- 
eenth century. 

The  "California  bear  "  and  the  Seal  of  Califor- 
nia are  in  decorative  and  suggestive  evidence  at  the 
tops  of  the  buttresses. 

The  green  domes  on  the  palace  belong  to  the  By- 
zantine school  of  architecture,  such  domes  as  one 
sees  in  the  mosques  of  Constantinople  and  other  Mo- 
hammedan centers. 

The  windows  seen  in  the  corner  towers  are  the 
same  kind  that  one  sees  used  in  the  majority  of 
mosques. 

The  bcautif  central  portal,  facing  south,  is  mod- 
eled after  the  Portal  of  the  Hospice  of  Santa  Cruz 
at  Toledo,  Spain. 

It  is  16th  century  Spanish  Renaissance,  known  as 
the  Plater  esque  style  (-from  platero,  silversmith). 

The  columns  suggest  a  wood  origin  and  look  as  if 
they  had  been  turned  in  a  lathe. 

The  portal  is  the  color  of  cork,  illuminated  here 
25 


THE  CELEBRATED  PORTAL  OF  THE  VARIED  INDUSTRIES  PALACE 
By  W.  B.  Faville 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

and  there  with  niche  walls  of  pink,  and  touches  of 
ultramarine  blue. 

The  fine  figure  work  representing  the  modern  in- 
dustrial types  is  by  Ralph  Stackpole  of  Oregon, 
whose  home  is  now  in  San  Francisco.  He  expresses 
himself  most  simply  and  unaffectedly,  in  clear, 
broad  treatment,  and  makes  the  ordinary  workman 
a  man  to  be  honored  and  respected. 

The  upper  figures  represent  an  old  man  handing 
his  burden  to  a  younger  man.  The  Old  World  Hand- 
ing Its  Burden  to  the  Younger  World,  that  is  Amer- 
ica, is  finely  suggested. 

The  keystone  figure  represents  The  Power  of  In- 
dustry, the  man  who  both  thinks  and  uses  his  hands. 

In  the  tympanum  are  the  types  representing  the 
Varied  Industries. 

In  the  center  is  Agriculture,  representing  the 
food  side  of  life.  On  the  left  a  workman,  possibly 
an  architect,  suggests  the  refinements  of  the  varied 
industries,  while  on  the  right  one  sees  the  ordinary 
workman  with  his  sledge-hammer,  bringing  to  mind 
the  rougher  side  of  industry.  In  the  left  corner  a 
woman  with  her  spindle — a  lamb  standing  near — 
recalls  the  making  of  textiles.  Commerce  occupies 
the  right  corner,  holding  the  prow  of  a  vessel  with 
its  figurehead. 

The  Workman  with  his  pick  is  repeated  in  the 
four  niches. 

27 


PALACES  AND  COURTS  OF   THE  EXPOSITION 

The  two  flanking  portals  are  also  in  the  plater- 
esque  style  with  devices  of  this  Spanish  Renais- 
sance period  represented  on  them. 

The  shields,  or  cartouches  as  they  are  called,  have 
no  special  meaning,  being  only  ornaments  of  this 
particular  period. 

The  portals  on  the  east  of  the  Palace  of  Varied 
Industries  and  also  of  the  Palace  of  Mines  are  sug- 
gestive of  gateways  of  old  Roman  walled  cities,  like 
those  of  Perugia,  for  instance.  This  Italian  type  of 
portal  is  chosen  since  Machinery  Palace  opposite  is 
in  the  Italian  style  of  architecture. 

Notice  how  the  pastel  pink  accents  the  portal. 

The  figure  of  "  The  Miner  "  in  the  niches  is  by 
Albert  Weinert,  whose  work  in  the  Congressional 
Library  at  Washington  is  well  known. 

The  Pala.ce  of  Varied  Industries  has  an  exhibition 
of  the  more  refined  manufactures,  those  articles  that 
are  regarded  more  as  luxuries,  such  as  bronzes,  jew- 
elry, silverware,  fine  pottery,  porcelains,  rugs,  leath- 
er work,  silks,  etc. 

The  Palace  of  Mines  deals  with  the  smelting  of 
metals,  a  fine  exhibition  of  different  ores,  and  above 
all  "  Safety  First"  in  its  relation  to  mines.  The 
Mines  Rescue  work  is  most  interesting. 


28 


FLORA  OF  THE  AVENUE  OF  PROG- 
RESS AND  THE  AVENUE  OF  PALMS 

Eucalyptus  globulus  (blue  gum). 

Eucalyptus  robusta. 

Eucalyptus  viminalis. 

Cupressus  macrocarpa  (Monterey  cypress). 

Laurestinus. 

Australian  pea  vine  on  the  palms. 

Muhlenbeckia  (Australian  mattress  vine)  against 
the  base  of  Machinery  Palace. 

Honeysuckle  against  the  base  of  the  Varied  In- 
dustries Palace. 

Lawson  cypress. 

Libocedrus  decurrens  (incense  cedar). 

Acacia  floribunda. 

Acacia  latifolia. 

Albizzia  Lophantha. 

Abies  menziesa  (fir). 

Picea  Engelmanni  (spruce). 

Picea  excelsa  (from  Norway)   (spruce). 

Pittosporum. 

Rhododendrons  (notice  how  they  work  upon  the 
pink  walls)   (for  color). 

Cinerarias  (for  color). 

29 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Cyclamen  (for  color). 

Dracaena  indivisa  (cabbage  palm). 

Woodwardias. 

Japanese  strawberry. 

Notice  Mr.  McLaren's  devices  for  covering  the 
ground. 

The  lophantha  lawn,  it  might  be  called,  is  an  arti- 
ficial device  for  producing  a  most  lovely  effect.  The 
tree  is  stripped  of  all  branches  until  it  has  attained 
the  height  of  four  feet,  the  top  being  trained  and 
flattened  into  a  head  five  feet  across.  The  trees  are 
placed  close  enough  together  so  that  the  tops  inter- 
lace, producing  thereby  a  continuous  green  surface. 

The  veronica  buxi  folia  is  the  light  green  border 
at  the  side  and  in  front  of  the  Palace  of  Varied  In- 
dustries. 

Achanca  from  New  Zealand  and  Australia  is  used 
on  the  banks  and  accords  most  harmoniously  with 
the  albizzia  lophantha. 

The  abelia  rupestris  is  the  red  leafed  plant  with 
pink  blossoms. 

Peonia  moutan  daikaqura  is  the  peony. 

Since  the  small  plants  in  front  of  the  permanent 
shrubs  are  changed  periodically,  a  list  of  everything 
planted  is  of  course  out  of  the  question. 

The  technical  names  are  suggested  with  a  few  of 
30 


PALACES  AND  COURTS  OF  THE.  EXPOSITION 

the  trees  and  shrubs  so  that  you    can  continue  this 
line  of  work  for  yourself. 

Since  the  botanical  names  are  placed  on  the 
plants  in  many  places  you  can  easily  find  what 
you  seek. 


THE  PALACE  OF  MANUFACTURES 

AND  ALSO  THE  PALACE  OF 

LIBERAL  ARTS 

( Since  they  are  alike. ) 

The  portal  is  Spanish  Renaissance  with  grill 
work.  Notice  the  pastel  pink,  turquoise  blue  and 
burnt  orange  on  this  portal.  This  coloring  is  a 
means  of  strongly  accenting  this  fine  architectural 
feature. 

The  panel  (representing  the  making  of  glass, 
metal  work,,  textiles,  statuary,  etc.),  as  well  as  the 
female  figure  holding  the  spindle  and  the  male  with 
the  sledgehammer,  are  by  Mahonri  Young  of  Salt 
Lake  City,  Utah. 

The  wall  niches  show  elephants  and  lions  used  al- 
ternately— a  fine  oriental  touch.  The  heads  are 
used  as  fountains. 

(t  Acroterium"  is  the  Victory  on  the  gables,  many 
times  repeated.  It  is  the  work  of  Frank  Edwin  El- 
well,  curator  of  Ancient  Art,  at  the  Metropolitan 
Museum  of  New  York. 

Viewing  the  figure  from  the  side,  you  are  re- 
minded of  the  Victory  of  Samothrace.  She  is  notice- 
ably beautiful  against  the  late  afternoon  sky  and 
also  against  the  blue  morning  sky. 

33 


PALACES  AND  COURTS  OP  THE  EXPOSITION 

You  will  notice  that  the  flora  is  just  the  same  in 
the  main  in  front  of  these  buildings  as  it  was  in 
front  of  the  others  you  have  seen,  the  grass  lawn 
here  taking  the  place  of  the  albizzia  lophantha. 

Sweet  peas,  daffodils,  rhododendrons,  evening 
primroses,  Japanese  magnolias,  coronilla  are  added 
for  color. 

The  Palace  of  Manufactures  shows  the  coarser, 
heavier  articles,  such  as  furniture,  carpets,  woolen 
goods,  hardware.  Many  articles  are  being  made  in 
this  palace. 

The  Palace  of  Liberal  Arts  includes  all  kinds  of 
printing,  book  binding,  engraving,  photographic  ap- 
paratus, especially  in  the  line  of  moving  pictures 
and  color  photography,  theatrical  appliances,  musi- 
cal instruments,  instruments  of  precision,  wireless 
telegraphy  and  the  wireless  telephone,  etc. 


34 


THE  PALACE  OF  EDUCATION 

ARCHITECT — W.  B.  Faville  of  San  Francisco. 

There  are  three  portals  on  the  south  in  the  Span- 
ish Renaissance  style,  with  twisted  columns  of  the 
Byzantine  school.  Notice  that  the  screws  twist  in 
opposite  directions. 

Above  the  central  portal  is  Gustav  Gerlach  's  tym- 
panum relief  "Education."  The  tree  of  knowl- 
edge is  seen  in  the  background.  The  kindergarten 
stage,  the  half-grown,  and  the  mature  periods  are 
shown,  the  latter  showing  the  man  no  longer  under 
a  teacher,  but  working  his  problem  out  by  himself. 

The  modern  costumes,  combined  with  the  classical 
styles,  suggest  that  the  knowledge  of  today  rests 
upon  that  of  the  old  schools.  Mr.  Gerlach  is  a  pupil 
of  Karl  Bitter  of  New  York,  the  Chief  of  the 
Sculpture. 

Below  the  tympanum  is  the  open  book  of  knowl- 
edge from  which  light  radiates  in  all  directions. 
The  curtains  of  darkness  have  been  drawn  aside. 
The  hour-glass  says,  "Improve  the  shining  mo- 
ments as  they  pass." 

The  crown  awaits  those  who  will  seek  knowledge. 
35 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Atop  this  portal  is  the  globe  suggesting  that  edu- 
cation extends  around  the  world. 

The  panel  on  the  left  shows  the  female  teacher  in 
the  center.  She  is  instructing  her  hearers  who  dis- 
cuss their  interests. 

This  panel  is  by  Peters. 

The  companion  panel  with  the  male  teacher  is  by 
Cesare  Stea. 

Both  panels  are  quite  evident  in  meaning.  Messrs. 
Peters  and  Stea  are  pupils  of  the  Beaux  Arts  of 
Paris  and  the  National  School  of  Sculpture  of 
America,  respectively. 

The  Palace  of  Education  and  Social  Economy 
shows  developments  since  1905.  Comparative  ex- 
hibits of  educational  interests  of  all  nations  are 
shown. 

Child  welfare,  playgrounds,  care  of  the  feeble- 
minded, treatment  of  the  insane,  missionary  work, 
the  Red  Cross  system,  criminology,  park  systems, 
street  improvements,  methods  of  disposing  of  sew- 
age, and  many  other  allied  subjects  are  interestingly 
worked  out  for  public  benefit. 

The  flora  is  just  about  the  same  in  front  of  the^e 
palaces  as  that  which  you  have  noticed.  The  veron- 
ica buxifolia  is  grouped  around  the  lawn  at  the  cor- 
ner of  Palm  and  Administration  Avenues. 

The  west  side  of  the  Palace  of  Education,  as  well 
37 


1 '  THOUGHT  '  '—By  Ralph  Stackpole 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

as  that  of  the  Palace  of  Food  Products,  has  great 
Roman  half  domes  above  the  entrances.  Again  your 
architecture  at  the  portals  is  changed  to  suit  the 
style  of  the  palace  opposite.  The  Fine  Arts  Palace 
is  mainly  old  Roman. 

These  are  called  respectively  "  The  Dome  of 
Philosophy'9  and  "  The  Dome  of  Plenty."  The 
female  figures  carrying  the  books  "  Ex  libris, " 
as  well  as  the  male  figures  carrying  cereal 
wreaths,  are  by  Albert  Weinert  and  Earl  Cum- 
mings,  respectively. 

"  Out  of  books  comes  much  knowledge/'  says 
the  woman. 

"If  you  wish  to  be  as  physically  strong  as  I 
am,  eat  my  food,"  says  the  man.  This  figure 
then  represents  physical  vigor. 

The  fountains  of  the  vestibules  are  by  W.  B. 
Faville  of  San  Francisco.  That  in  the  vestibule  of 
the  Palace  of  Food  Products  is  strongly  reminiscent 
of  the  fountain  of  Perugia. 

The  great  Siena  pedestals  beside  these  palaces 
carry  Ralph  Stackpole's  "Thought." 

The  niches  have  alternate  groups  of  "Abun- 
dance "  and  "  Triumph  of  the  Fields,"  both  by 
Chas.  Harley  of  Philadelphia  (studio  in  New 
York). 

Abundance  expresses  to  you  the  overflowing 
39 


*.       PALACES  AND  COURTS  OF  THE  EXPOSITION 

amount  of  all  that  we  have  today.  Her  symbol, 
the  cornucopia,  is  seen  on  either  side.  Her  large 
hands  are  spread  out  as  if  to  say: 

"  I  give  you  all  that  I  have.  Take.  Choose 
what  you  will." 

One  certainly  has  a  bountiful  choice. 

The  eagle's  head  is  on  the  prow  of  the  vessel 
in  which  she  sits.  It  surely  suggests  that  consid- 
ering all  we  have  put  before  us  today,  we  have 
reason  for  inspiration  (the  eagle  being  the  sym- 
bol of  inspiration). 

The  Triumph  of  the  Fields  shows  man  sur- 
rounded by  the  symbols  of  the  harvest  festivals 
when  the  Celtic  cross,  to  take  one  case,  or  the 
standard  with  the  bull  atop,  to  take  another,  were 
carried  through  the  fields  at  the  time  of  the 
bringing  in  of  the  harvests. 

Man  has  been  the  guiding  hand  to  the  bull, 
but  the  bull  has  really  triumphed  since  it  has 
actually  done  the  work,  while  man  receives  the 
credit.  Man  has  surmounted  the  bull,  as  it  were. 

Above  is  the  wheel  of  the  wain  of  old. 

The  seed  in  the  black  earth  appears  almost  to 
possess  intelligence.  You  get  that  idea  by  the  head 
below.  Has  not  the  seed  produced  the  bearded  bar- 
ley head  you  see  represented  ?  Does  not  that  power 
of  production  appear  to  be  intelligence  in  the  seed  ? 

40 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Below  the  niches  are  facsimiles  of  old  Roman 
baths  such  as  one  sees  in  the  Lateran  Museum,  in 
Rome.  ( See  picture  in  Bannister  Fletcher 's  History 
of  Architecture,  page  170.) 

Fronting  the  Esplanade  are  four  great  pal- 
aces : 

The  Palace  of  Food  Products,  which  allows  you 
to  see  how  a  number  of  our  dry  groceries  are 
made ; 

The  Palace  of  Agriculture,  dealing  with  the 
many  interests  of  the  farmer  and  the  orchardist, 
the  fisheries,  forestry,  reclaimed  land,  etc. ; 

The  Palace  of  Transportation,  which  enables 
one  to  see  the  remarkable  progress  made  in  auto- 
mobiles, aerial  nayigation,  ocean  liners,  overland 
trains,  etc. ; 

The  Palace  of  Mines,  which  has  been  spoken  of 
before. 

These  four  palaces  have  the  same  kind  of  door- 
way. The  style  is  the  Spanish  Plateresque,  the 
.same  kind  of  work  that  was  used  on  the  fine  por- 
tals of  the  Palace  of  Varied  Industries. 

The  Spanish  Cavalier  (by  Allen  Newman)  is 
the  type  of  man  who  came  to  America  in  the  16th 
century,  during  the  period  following  its  discov- 
ery. He  is  the  type  of  Spanish  conqueror  (con- 
quistador). 

41 


THE  PORTAL  .OF  ALL  THE  PALACES  PACING  NORTH 
By  W.  B.  Faville 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  Pirate  is  the  type  of  man  who  infested  the 
shores  of  Spanish-America  and  preyed  upon  the 
commerce. 


The  Palaces  are  intimately  placed  for  several 
reasons. 

From  experiences  at  previous  Expositions, 
* '  tired  feet ' '  are  strongly  to  be  considered,  hence 
the  nearness  of  the  buildings. 

San  Francisco  has  a  few  (?)  windy  and  foggy 
days  in  the  Trade  Wind  Season,  so  if  the  walls 
are  high  and  near  together,  the  courts  on  the  in- 
side of  those  walls  will  be  well  protected  from 
both  winds  and  fogs.  The  high  walls  lift  the  cool 
air  so  that  it  passes  over  the  buildings  of  the 
great  block,  thus  sheltering  the  courts  within. 


Now  that  you  have  walked  around  the  facades 
of  the  palaces  of  this  great  block  system,  you  can 
start  with  your  courts. 

I  would  strongly  suggest  that  you  study  all  of 
your  buildings  of  this  group  first,  before  entering 
the  courts  for  close  work. 


THE  AISLES  BETWEEN  THE  PALACES 
The  aisle  between  the  Educational  Palace  and 
the  Palace  of  Food  Products  is  called  The  Aisle 

43 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

of  Spring,  tho  the  name  will  probably  not  be  ap- 
plied very  often,  as  the  aisle  is  not  important. 

The  flora  seen  here  is  eucalyptus,  acacia,  lau- 
restinus  with  its  white  bloom,  and  veronica  decus- 
sata  with  its  purple  flowers. 

The  border  is  cistus. 


The  Aisle  of  the  Setting  Sun  is  between  the 
Court  of  the  Universe  and  the  Court  of  the  Four 
Seasons. 

The  Aisle  of  the  Rising  Sun  is  between  the 
Court  of  the  Universe  and  the  Court  of  the  Ages. 

These  two  aisles  are  very  much  alike,  the  great 
difference  being  in  the  flora  used. 

The  style  is  Italian  Renaissance  and  should  not 
be  called  Venetian,  as  many  have  named  it. 

The  walls  are  covered  with  a  diaper  design  of 
ochre,  pink  and  travertine. 

Blue  rondels  are  used  with  telling  effect.  They 
give  a  delightful  touch  of  color  and  have  a  fine 
Italian  feeling.  These  rondels  have  no  special 
meaning,  being  purely  decorative. 

The  coupled  columns  with  different  decorations 
have  their  prototypes  in  the  columns  of  the 
churches  of  southern  Italy. 

The  arched  windows  have  interesting  grotesque 
keystones. 

44 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Notice  that  the  spirals  of  the  great  Siena  marble 
columns  turn  in  opposite  directions.  Think  how 
they  would  appear  if  they  all  turned  the  same  way ! 

Notice  also  the  beautiful  manipulation  of  color 
on  the  Triumphal  Arches. 

The  latticed  windows  are  strongly  suggestive 
of  Mohammedan  work  and  are  a  beautiful  tur- 
quoise green.  They  are  among  the  many  Oriental 
touches  at  this  splendid  Exposition.  The  area  of 
deep  pink  and  the  burnt  orange  medallions  must 
be  seen  to  realize  their  beauty. 

No  wonder  Pegasus  is  seen  in  the  spandrels! 
Who  would  not  mount  Pegasus  at  such  a  glorious 
Exposition  ? 

In  these  aisles  are  many  remarkable  conifers. 
Yews  from  many  different  countries,  junipers  of 
various  kinds,  pines,  firs,  spruces,  cypresses  of 
countless  varieties,  many  thuyas,  beside  euonymus, 
holly,  datura,  India  rubber,  aralias,  the  beautiful 
nandina  domestica,  a  most  lovely  foliage  massed  in 
the  corners  of  the  west  side  of  the  Aisle  of  the 
Rising  Sun. 

In  March  and  April  these  courts  receive  glo- 
rious rich  coloring  from  beds  of  California  pop- 
pies and  anemones,  bordered  with  creeping  juniper. 

The  gay  spring'  flowers  will  be  followed  by 
summer  annuals,  and  later  by  our  autumn  blos- 
soms. 

45 


THE  COURT  OF  THE  UNIVERSE 

This  court  which  strongly  resembles  the  great 
area  in  front  of  St.  Peter's,  Rome,  with  its  sweep 
of  colonnade  to  right  and  left,  was  designed  by 
the  New  York  firm  of  McKim,  Meade  and  White. 

The  architecture  is  Italian  Renaissance  and 
gives  you  the  beautiful  spirit  of  the  old-time 
work.  It  is  a  wonderful  court  in  architecture,  or- 
namentation, color,  arrangement,  and  above  all  in 
meaning. 

In  order  to  get  the  full  joy  of  it,  you  must  pur- 
sue a  regular  plan  and  you  cannot  hurry.     Don't  ' 
try  to  do  it  all  in  one  day.     First  walk  thru  the  '• 
court  to  the  Triumphal  Arch  on  the  right.    Pass  .' 
thru  it  and  read  the  quotation  on  the  right  at  the 
top  of  the  arch. 


THE  COSMICAL  SIDE  OF  THE  COUBT  OF  THE 
UNIVEESE 

"  The  universe — an  infinite  sphere.  Its  center 
everywhere,  its  circumference,  nowhere."  This 
comes  from  Pascal,  from  his  Pensees. 

This  splendid  quotation  gives  you  the  infinite 
side  of  your  subject. 

47 


THE  EISING  SUN  ' ' — By  A.  A.  Weinmann 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Now  pass  back  to  the  Court  of  the  Universe  and 
you  will  see  ninety  times  repeated  against  the 
sky,  A.  Stirling  Calder's  very  decorative  "  Jew- 
eled Star."  This  will  suggest  the  myriad  of  suns 
in  our  great  universe  (since  stars  are  suns). 

The  nearest  star  to  us,  our  sun  ("  The  Rising 
Sun/'  by  A.  A.  Weinmann  of  New  York)  then 
attracts  the  attention. 

He  is  seen  just  before  daybreak. 

This  fresh,  strong  young  sun  is  just  about  to 
start  on  his  journey.  Dawn  is  soon  to  break  upon 
the  world  and  with  muscles  stretched,  the  heaven- 
enly  joy  of  the  first  move  expressed  upon  his  face, 
the  wind  blowing  thru  his  hair,  the  vigor  of  young 
life  pulsating  thru  his  body,  he  will  start  the  chest 
forward  and  move  those  outstretched  wings. 

Walk  toward  him  and  you  will  see  him  begin 
his  journey  thru  space. 

Noiv  read  the  quotation  on  the  Triumphal  Arch 
of  the  Rising  Sun: 

"The  moon  sinks  yonder  in  the  west 
While  in  the  east  the  glorius  sun 
Behind  the  herald  dawn  appears 
Thus  rise  and  set  in  constant  change  those 

shining  orbs 

And  regulate  the  very  life  of  this  our  world." 
— By  Kalidasa   (the  Shakespeare  of  India). 
49 


DESCENDING  NIGHT  " — By  A.  A.  Weimnaim 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  sun  at  setting  is  represented  by  a  beautiful 
woman.  The  day  is  just  about  to  close  and  with 
muscles  relaxed  (knees  bent,  head  drooping,  arms 
falling,  wings  folding)  she  is  soon  to  sink  to  slum- 
ber, to  pass  from  view.  This  is  what  is  suggested 
by  calling  the  figure  the  Setting  Sun. 

In  the  Fine  Arts  Palace,  Mr.  A.  A.  Weinmann 
has  called  the  same  figure  "  Descending  Night," 
and  that  title  is  much  more  consistent  and  satis- 
factory, for  how  are  you  going  to  account  for  the 
youthful  sun's  appearing  at  the  end  of  the  day 
as  a  woman? 

Then  again  the  reliefs  refer  to  "  Descending 
Night  "  for  they  are  called  "  The  Mysteries  of 
Dusk." 

Now  raise  your  eyes  to  those  beautiful  cameo 
figures  on  the  burnt  orange  ground  at  the  en- 
trance to  the  colonnades,  and  you  will  be  carried 
in  thought  to  the  Zodiac,  that  great  imaginary 
belt  thru  which  the  sun  and  planets  travel. 

There  you  see  the  zodiacal  figures,  two  and  two, 
with  their  symbols,  gliding  thru  space. 

The  clouds  or  nebulous  matter  is  suggested  by 
the  female  figures  with  swirling  drapery,  toward 
the  end  of  the  frieze. 

In  the  center  stands  Atlas,  mythologically  the 
first  astronomer.  Your  fancy  has  carried  you  on 

51 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

the  wings  of  the  wind  at  this  very  suggestion. 
These  fourteen  maids  are  Atlas'  fourteen  daugh- 
ters. 

Go  close  to  the  die  of  the  fountain  of  the  Rising 
Sun  and  look  at  the  reliefs. 

The  subject  is  Day  Triumphant.  The  genius  of 
Time  with  hour-glass  is  followed  by  the  genius  of 
Light  with  flaming  torch,  and  Energy  sounds  on 
his  trumpet  the  announcement  of  the  break  of 
day. 

Truth  follows  with  mirror  and  sword  emerging 
triumphant  from  the  sinister  powers  of  Darkness. 
Falsehood  shrinks  from  its  own  image  reflected  in 
the  mirror  of  Truth.  Vice  cowers  and  struggles 
in  the  coils  of  a  serpent. 


Walk  over  to  the  corresponding  die  on  the  foun- 
tain of  Descending  Night.  On  it  are  shown  the 
Gentle  Powers  of  the  Night.  Dusk  envelops  in  her 
cloak  Labor,  Love  and  Peace. 

Following  are  Illusions  carried  upon  the  wings 
of  Sleep.  Then  come  the  Evening  Mists,  followed 
by  the  Star  Dance  and  Luna,  goddess  of  the  Sil- 
ver crescent.  (Let  me  acknowledge  the  kind  help 
of  Mr.  A.  A.  Weinmann  in  the  interpretation  of 
these  reliefs.) 

You  have  swept  your  mind  over  the  cosmical 
52 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

side  of  the  Court  of  the  Universe  on  objects  at  a 
great  distance.  Come  closer  now  to  view  the  ele- 
ments. These  colossal  figures  of  Earth,  Air, 
Water,  Fire  assume  a  certain  majesty  in  this 
Court  of  the  Universe. 

They  are  in  horizontal  composition  and  add 
greatly  to  the  decorative  side  of  this  inspiring 
court. 

Earth — The  sleeping  Earth  which  yields  to  man 
wood  (from  the  great  trees  whose  roots  ramify 
below  the  surface  of  the  ground),  stone  and  min- 
erals— (man  wrests  thru  great  muscular  strength 
these  substances  from  the  earth). 

Air — That  holds  to  her  ear  the  star.  She  is  lis- 
tening to  the  music  of  the  spheres.  On  her  back 
are  wings  which  man  has  fastened  on  so  that  he 
can  overcome  her — a  fine  suggestion  to  aerial  nav- 
igation. 

The  bird,  the  symbol  of  the  air,  is  twice  re- 
peated. 

Fire — His  very  expression  of  face  shows  you 
the  terrorizing  effect  of  fire.  He  holds  his  hand 
in  the  flame.  The  lightning  plays  on  his  right 
arm.  Across  his  figure  passes  the  salamander,  the 
fabled  reptile  of  the  fire.  (See  the  real  salaman- 
der in  the  Japanese  concession  on  the  Zone.) 

Water — The  bellowing  ocean  with  mouth  agape 
53 


PALACES  AND   COURTS  OF  THE  EXPOSITION 

lies  on  the  tossing  waves,  thru  which  sport  the  dol- 
phins. 

Ocean,  the  king  of  the  waters,  carries  the  tri- 
dent. 

On  his  head  and  in  his  hands  the  kelp  is  seen. 


The  elements  are  by  Robert  Aitken  of  New  York, 
formerly  of  San  Francisco. 


THE   HUMAN  SIDE   OF   THE   COURT   OF   THE 
UNIVERSE 

All  is  now  ready  for  man. 

In  the  center  of  the  Court  of  the  Universe  was 
to  have  been  Daniel  French's  Genius  of  Creation, 
but  if  it  is  not  there,  we  must  not  lose  the  great 
dominant  note  of  this  Court,  so  pass  thru  the  Tri- 
umphal Arch  of  the  Orient,  thru  the  beautiful  Aisle 
of  the  Rising  Sun,  across  the  Court  of  the  Ages, 
out  thru  the  next  aisle,  to  the  plaza  in  front  of 
Machinery  Palace  in  order  to  follow  the  story. 

Here  on  the  boulder  sits  the  great  Spirit  (not 
a  man  you  will  notice).  The  hood  is  drawn  far 
over  the  face  so  that  a  certain  idealism  is  pro- 
duced— a  great  spirit  with  wings  and  arms  raised. 

Wisdom  (the  serpent)   encircles  the  throne. 

The  arms  of  the  creating  spirit  have  just  been 
raised,  the  word  has  just  been  spoken  and  splen- 

55 


THE  GENIUS  OF  CREATION  ' ' — By  Daniel  Chester  French 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

did  manhood  ready  to  meet  the  world,  with  modest, 
helpful  woman,  just  come  forth.  The  hands  touch 
at  the  back  of  the  group,  causing  you  to  feel  that 
man  and  woman  are  mutually  dependent. 

Return  to  the  Court  of  the  Universe. 

Now,  look  up  at  the  Triumphal  arches  and  no- 
tice Leo  Lentelli's  Angel  of  Peace  with  its  down- 
turned  sword. 

"  Let  there  be  peace,  throughout  the  world. 
Turn  down  the  sword,"  it  says. 


A  night  of  illumination  should  follow  your 
work  and  you  can  then  read  under  the  search- 
lights the  words  on  the  right  upper  corner  of  the 
Oriental  Gateway — 

"Our  eyes  and  hearts  uplifted 
Seem  to  rest  on  heaven's  radiance." 

(From  Hitomaro,   the  Japanese  poet  of  the  8th 
century,  A.  D.) 


Your  scene  is  shifted  for  a  short  time. 

You  have  passed  into  the  Court  of  the  Ages  for 
a  retrospect  (upon  the  human  side). 

The  primitive  people  are  to  be  seen  here  on  the 
Fountain  of  the  Psychology  of  Life.  Don't  try  to 
see  everything  in  detail  now,  for  you  can  come 
back  later. 

57 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Just  realize  this,  that  the  small  group  facing 
west  in  the  fountain  is  The  Dawn  of  Life,  then 
comes  Natural  Selection  which  develops  into  The 
Survival  of  the  Fittest,  or  The  Development  of  the 
Militant  Spirit. 

This  early  period  shows  man  working  strongly 
under  the  power  of  impulse.  Vanity,  lust  and 
greed  seem  to  dominate  his  actions.  On  these 
primitive  people  pass  thru  life.  You  can  see  them 
if  you  look  up  on  the  Tower.  On  they  march,  in 
that  upward  climb  of  civilization. 

Marching  along  with  primitive  man,  thru  long 
periods  of  time,  you  next  meet  him  developed  as 
the  Crusader  of  the  Mediaeval  period.  He  has 
mounted  thru  war  and  his  religion  and  stands  at 
the  feet  of  the  Priestess  of  Religion,  the  last  group 
at  the  upper  part  of  the  Tower. 

On  either  side  you  will  notice  a  man  and  a 
woman  standing  on  the  bodies  of  primitive  beings. 
These  figures  represent  the  man  and  the  woman  of 
today.  The  man  and  the  woman  who  have  sprung 
from  this  primitive  stock. 

Don't  stop  in  this  beautiful  Court  of  the  Ages, 
for  we  shall  return  later  to  finish  our  story. 

You  have  gotten  connection  enough  now  to  al- 
low you  to  return  to  the  Court  of  the  Universe. 


58 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Take  a  seat  in  the  sunken  garden  and  look  up  at 
the  figures  on  the  Triumphal  Arch  of  the  Rising 
Sun.  The  Orientals  are  represented  by  many 
types. 

From  left  to  right  are  seen : 

1.  The  Arab  sheik  on  his  Arabian  steed. 

2.  The  Negro  servitor  with  fruits  on  head. 

3.  The  Egyptian  on  his  camel,  carrying  a  Mo- 
hammedan standard. 

4.  The  Arab  falconer  with  bird  on  wrist. 

5.  The  splendid  Indian  prince  on  the  back  of 
the  elephant. 

6.  Inside  the  howdah  the  Spirit  of  the  East, 

1.  The  lama  from  Thibet  with  his  rod  of  au- 
thority. 

8.  The  Mohammedan  with  his  crescent  standard. 

9.  Again  a  negro  servitor. 

10.  The  Mongolian  on  his  horse. 

On  they  come,  these  Orientals,  to  take  part  in 
the  great  celebration.  (They  are  the  collaborated 
work  of  A.  Stirling  Calder,  Leo  Lentelli,  Frederick 
Eoth.) 

Next  look  up  at  your  Occidentals  on  the  Arch 
of  the  Setting  Sun. 

From  left  to  right  you  see: 

1.  The    French    Canadian — the    trapper. 
59 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

2.  The   Alaskan   with   her   totem   poles   on   her 
back. 

3.  The   Latin-American   on   horseback. 

4.  The  German. 

5.  The  Italian. 

6.  The  Anglo-American. 

7.  The  Squaw  with  her  papoose  basket. 

8.  The  American  Indian  on  his  horse. 

In  the  center  is  the  old  Prairie  Schooner  drawn 
by  the  great  oxen. 

Atop,  pushing  out,  is  Enterprise  leading  these 
men  westward,  on  either  side  a  white  boy  and  a 
colored  boy,  The  Heroes  of  Tomorrow. 

In  front  marches  that  stalwart  Mother  of  To- 
morrow. It  has  taken  all  these  Occidentals  to 
produce  the  work  that  is  coming  in  the  future — 
the  achievements  due  to  the  completion  of  the 
Panama  Canal — therefore,  they  conjointly  express 
"  The  Mother  of  Tomorrow." 


These  nations  are  now  marching  into  the  Court 
of  the  Universe  and  are  to  meet  in  front  of  the 
Tower  of  Jewels,  the  symbol  of  the  Panama 
('anal. 


Read  now  on  the  Occidental  Gateway  the  mag- 
nificent lines  by  Walt  Whitman : 

61 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

" Facing  west  from  California's  shores, 
Inquiring,   tireless,  seeking  what  is  yet 

unfound, 

I,  a  child,  very  old,  over  waves 
Toward   the   house    of    maternity,    the 

land  of  migrations  look  afar, 
Look  off  the  shores  of  my  western  sea, 
The  circle  almost  circled." 

Mr.  Porter  Garnett's  excellent  explanation  you 
may  be  glad  to  read: 

"In  these  transcendent  lines  we  have  the  poet 
speaking  as  fthe  personification  and  representa- 
tive of  the  Aryan  race,  the  race,  which,  having  its 
origin  in  the  plains  of  Kashmirj  has  by  virtue 
of  the  spirit  of  conquest,  the  desire  to  be  seeking 
what  it  yet  unfound,  finally  reached  the  western 
edge  of  the  American  Continent,  whence  jit 
'faces  west  from  California's  shores'  and  looks 
toward  the  House  of  Maternity,  the  Land  of  Mi- 
grations from  which  it  originally  sprang. 

"It  seems  hardly  possible  to  conceive  of  an  in- 
scription that  embodies  such  a  tremendous 
thought,  and  is,  at  the  same  time,  so  appropriate 
to  the  purpose  for  which  it  is  suggested.  It  comes, 
moreover,  from  the  poet  who  above  all  others  repre- 
sents the  spirit  of  the  American  people  and  the 
ideals  of  democracy." 

62 


PALACES  AND   COURTS  OF  THE  EXPOSITION 

You  now  feel  the  import  of  the  Occidentals 
who,  with  that  Aryan  spirit,  have  with  mighty 
power,  such  as  Hercules  alone  possessed  ( as  Perham 
Nahl's  poster  tells  you)  severed  two  continents  and 
introduced  the  Panama  Canal. 


Next  read  the  far-seeing  words  of  Goethe  in  his 
letters  to  Eckermann  (on  the  west  side  of  The 
Arch  of  the  Setting  Sun)  : 

"  It  is  absolutely  indispensable  for  the 
United  States  to  affect  a  passage  from  the 
Mexican  Gulf  to  the  Pacific  Ocean,  and  I  am 
certain  that  they  will  do  it.  Would  that  I 
could  live  to  see  it,  but  I  shall  not." 


THE    HISTORICAL    SIDE    OF    THE    COURT    OF    THE 
UNIVERSE 

Begin  with  Mr.  Edward  Simmon's  murals  on 
either  side  of  the  Gateway  of  the  Rising  Sun. 

Facing  east,  the  mural  on  the  right  represents 
The  Nations  That  Have  Crossed  the  Atlantic 
(Greece,  Italy,  Spain,  England,  France,  etc.)  and 
the  special  types  are  these: 

1.  The  savage  of  the  lost  Atlantis. 

2.  The  Graeco-Roman  sharpening  his  blade. 

3.  Columbus,   the  type  of  adventurer. 

4.  Sir  Walter  Raleigh,  the  type  of  colonist. 

63 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

5.  The  priest,  representing  the  Jesuit  mission- 
aries. 

6.  The  artist. 

7.  The  workman. 

8.  The  (veiled)  Future  listening  to  the  Past. 

The  people  of  the  old  world,  with  all  their  tra- 
ditions, cross  the  Atlantic,  led  by  the  "  Spirit  of 
Adventure  "  (with  his  bugle  calling  them  to 
come). 


The  mural  on  the  opposite  side  shows  the  as- 
pirations, etc.,  of  the  group  just  examined. 

Reading  from  left  to  right  we  find  the  men  had 
hopes  (and  some  false  hopes,  but  bubbles),  com- 
merce, inspiration,  truth,  religion,  wealth  and 
family  in  their  minds. 

Cross  to  the  Gateway  of  the  Setting  Sun  look- 
ing at  the  mural  on  the  right  as  you  face  west. 

Time  has  moved  on  since  those  early  colonists 
came  to  the  Atlantic  shores  and  now  the  Spirit  of 
Abundance  (with  her  overflowing  golden  cornu- 
copia) is  sounding  the  call  for  all  to  follow. 

Many  leave  their  homes  to  join  the  great 
throng  that  is  moving  westward.  The  wagon  is 
laden  with  the  necessaries  of  life  for  the  new 
home  in  the  western  country.  You  see  the  feath- 
er bed,  the  old  grandfather's  clock  that  stood  on 

64 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

the  stairs,  the  scythe,  the  pitchfork  and  the  rake 
for  their  agricultural  interests,  etc.  On  the  right 
the  young  man  who  has  said  goodbye  to  his  wife 
now  turns  to  his  aged  parents.  The  mother,  over- 
come with  grief  at  parting,  stands  speechless,  and 
the  grey-haired  father  shakes  his  boy's  hands  and 
wishes  him  "  God-speed." 

All  types  of  men  are  taking  the  journey  and 
you  are  reminded  that  not  alone  workmen  an$  ad- 
venturers are  leading  the  procession,  but  minis- 
ters, women  with  their  refining  influence,  children 
with  their  school  books,  and  college  men  with 
gown  and  mortar-board,  with  books  under  arms — 
all  moving  on  the  long  journey  westward. 

Occupying  the  same  position  on  the  southern 
side  of  the  arch  the  companion-piece  shows  these 
men  from  the  Atlantic  arriving  at  the  shores  of 
the  Pacific. 

The  people  of  the  west  with  outstretched  arms 
welcome  the  travelers.  The  children  of  the  Pa- 
cific shores  run  with  flowers  and  fruits  to  greet 
them.  You  will  notice  the  different  types  arriv- 
ing from  the  Atlantic  shore — literary  men  (with 
pen  and  book),  architects  (with  paper  in  hand), 
scientists  (with  book  under  arm),  Franciscan  friars 
(with  crucifix  and  mission  bells  in  hand),  etc.  These 
are  followed  by  the  Red  Coats,  indicating  those  who 

65 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

preserved  order.  These  men  are  all  led  by  the  Spirit 
of  Adventure.  She  is  no  longer  in  the  foreground, 
but  is  ready  to  fall  behind  as  soon  as  she  has  ful- 
filled her  mission. 

The  agricultural  interests  of  the  western  coun- 
tries are  suggested  by  the  wheat  and  implements 
of  the  field.  The  heavily  laden  orange  trees  speak 
of  the  fruit  industries.  Does  the  tapir  stand  for 
South  America?  Surely,  South  America  is  com- 
ing into  the  foreground  just  now. 

The  people  have  now  been  brought  to  tJtc 
shores  of  the  Pacific. 


The  Panama  region  is  the  one  next  to  be  visited 
and  you  rehearse  its  story,  standing  under  the 
Tower  of  Jewels,  "  The  Panama  Canal." 

These  are  the  murals  of  Frank  DeLeftwich 
Dodge : 

1.  The  Panama  Isthmus  is  discovered. 

2.  It  is  purchased  by  the  United  States. 

3.  You   are   reminded   that   the   great   waters — 
the  Atlantic  and  the  Pacific  —  play  with  titanic 
force  on  either  side  of  the  isthmus. 

4.  The  Panama  Canal  is  completed. 

5.  Labor  is  crowned. 

6.  The  achievements    which    follow  are  shown. 

66 


PALACES  AND  COURTS  OP  THE  EXPOSITION 

(The  caduceus,  the  wand  of  Mercury,  the  symbol 
of  commerce,   is   prominent.) 


Pass  thru  this  Tower  of  Jewels  noticing  in  the 
eastern  and  also  the  western  arcades  two  fine 
fountains. 

On  the  left  is  the  Fountain  of  Youth  by  Mrs. 
Edith  Woodman  Burroughs  of  Flushing,  Long 
Island. 

The  simple,  beautiful,  naive  figure  standing  on 
the  pedestal  is  Youth,  the  United  States,  the  child 
that  has  come  from  old  parents  (Europe). 

The  old  father  and  mother  have  had  many 
children — many  little  primroses  you  will  notice 
—but  none  more  dear  than  this  one.  The  charming 
panels  will  remind  you  that  the  old  people  of  today 
are  being  rowed  by  the  young.  These  children  row 
the  vessels,  bring  them  to  shore  and  fasten  them  to 
their  moorings. 

Many  of  the  old  people  are  deaf  or  blind  and 
are  straining  to  follow  the  young  who,  with  will- 
ing hands  are  guiding  them  on.  A  most  charming, 
lovely  work  is  this,  and  adds  a  fine  touch  to  the 
open  book  that  we  are  reading.  Don't  lose  the 
eagle  and  laurel  wreath  back  of  Youth.  They  are 
significant. 

67 


YOUTH  ' ' — By  Edith  Woodman  Burroughs 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

On  the  other  side  is  the  fine  formal  fountain  of 
"  El  Dorado/'  by  Gertrude  Vanderbilt  Whitney  of 
New  York. 

The  fountain  of  El  Dorado  brings  to  mind  the 
old  Indian  legend  of  El  Dorado,  the  Gilded  One: 

There  was  once  among  the  South  American  tribes 
a  belief  that  in  a  certain  far-off  country  lived  a 
king  called  El  Dorado,  the  Gilded  One.  He  ruled 
over  a  region  where  gold  and  precious  stones  were 
found  in  abundance. 

The  story  influenced  a  vast  number  of  adven- 
turers who  led  expeditions  to  seek  the  land  of  golden 
treasure,  but,  notwithstanding  the  fact  that  they 
searched  most  carefully  and  for  long  periods,  they 
all  failed  to  find  it. 

The  idea  of  the  unattainable  gave  the  suggestion 
to  Mrs.  Whitney  for  her  fountain. 

The  gold  of  El  Dorado  was  used  as  the  symbol 
of  all  material  advantages  which  we  so  strongly  de- 
sire— wealth,  power,  fame,  etc. 

In  the  panels  are  seen  the  men  and  women  of  life 
in  their  mad  race  for  the  unattainable. 

Many  have  had  a  glimpse  of  El  Dorado,  the 
Gilded  One,  and  are  rushing  on  to  pass  the  mys- 
terious gate  behind  which  the  desires  of  life  await 
them. 

Some  faint  by  the  roadside  or  stop  in  their  race 
69 


PALACES  AND  COURTS  OP  THE  EXPOSITION 

for  the  goal  to  contend  or  to  loiter  by  the  way, 
but  those  nearest  the  El  Dorado  increase  their 
speed — rush  madly  on. 

Beside  the  gateway  that  has  only  just  allowed 
the  fabled  El  Dorado,  the  Gilded  One,  to  pass 
through  are  two  mortals  who  have  come  close  to 
the  land  of  their  desires,  but  only  to  find  the  door 
shut  and  slaves  beside  it  barring  the  way.  Their 
strength  is  expended,  their  courage  gone  in  the  long 
race  for  material  things.  The  panels  of  this  foun- 
tain tell  us  in  satirical  language  something  we  can 
profitably  think  over  and  realize  if  we  will. 


THE  ETHICAL  SIDE  OF  THE  COURT  OF  THE 
UNIVERSE 

After  man  has  created  the  great  ' '  Isthmian 
Way,"  it  is  well  to  think  on  his  fine  ethical  stand- 
ards. 

Read  on  the  triumphal  arches  these  quotations 
on  truth,  honor,  justice,  wisdom : 

(Spain) 

"  Truth,  witness  of  the  past,  counsellor  of  the 
present,  guide  of  the  future."  (Cervantes  in  Don 
Quixote.)  East  side. of  Arch  of  the  Setting  Sun. 

(China) 

'  They  who  know  the  truth  are  not  equal  to  those 
who  love  it."  (Confucius  from  the  Confucian  Ana- 

71 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

lects  translated  by  James  Legge.)  West  side  of  the 
Arch  of  the  Rising  Sun. 

(Arabia) 

1 1  He  that  honors  not  himself  lacks  honor  where- 

soe'r  he  goes."  (From  the  "  Mu 'allaqua( "  of  Zu- 

hayr  ibn  Abi   Sulma   translated   by   Reynold   A. 

Nicholson.)  East  side  of  the  Arch  of  the  Rising  Sun. 

(Italy) 

"  The  world  is  in  its  most  excellent  state  when 
Justice  is  supreme."  (Dante  Purgatoria.)  West  side 
of  the  Arch  of  the  Setting  Sun. 
(Siam) 

"A  wise  man  teaches,  be  not  angry;  from  un- 
trodden ways  turn  aside."  (From  the  sayings  of 
Phra  Euang,  Prince  Ram  Khamheng  of  Sukhothai.) 
East  side  of  the  Arch  of  the  Rising  Sun. 


Coming  into  this  great  Court  of  the  Universe 
one  hopes  that  truth,  honor,  justice  and  wisdom  will 
be  maintained. 


THE  FLORAL  SIDE  OF  THE  COURT  OF  THE 
UNIVERSE 

This  court  will  show  a  succession  of  beautiful 
bloom  throughout  the  year.  The  daffodils  will  have 
their  golden  season,  the  rhododendrons  their  bril- 

72 


PALACES  AND  COURTS  OF   THE  EXPOSITION 

liant  sheet  of  color,  and  in  May  the  columns  will 
support  our  various  climbing  roses,  exhaling  their 
perfume  for  all  who  come  to  this  Land  of  Flowers. 

Summer  flowering  annuals  will  follow  and  later 
the  autumnal  flowers. 

Read  the  quotation  on  the  aisle  side  of  the  Arch 
of  the  Rising  Sun : 

' '  The  balmy  air  diffuses  health  and  fragrance, 
So  tempered  is  the  genial  glow  that  we  know 

neither  heat  nor  cold. 
Tulips  and  Hyacinths  abound. 
Fostered  by  a  delicious  clime,  the  earth 
blooms  like  a  garden. ' ' 

— Firdausi. 

(Annals  of  Kai-Kaus,  in  James  Atkinson's  translation 
of  Shah  Nameh.) 

So,  while  thinking  of  a  Persian  garden  in  the 
quotation,  we  feel  the  applicability  to  the  Califor- 
nia gardens. 


THE  FESTIVAL  SIDE  OF  THE  COURT  OF  THE 
UNIVERSE 

There  is  still  another  side  to  realize  in  this  mean- 
ingful court.  The  exposition  is  a  great  festival,  a 
triumphal  festival,  and  you  meet  the  suggestions  of 
it  all  around  you. 

This  great  court  is  entered  on  three  sides  by  Tri- 
umphal Arches. 

73 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  Triumphal  Arch  of  the  Occident, 

The  Triumphal  Arch  of  the  Orient, 

The  Triumphal  Arch  of  the  Tower  of  Jewels. 

The  prototype  of  the  triumphal  arch  is  seen  in 
many  places,  most  satisfactorily  today  in  Kome. 

The  Arch  of  Constantine  is  the  best  model  for  us 
to  examine,  for  it  has  three  openings — even  if  the 
shape  of  the  side  opening  is  not  the  same  as  that  of 
the  arches  before  us. 

The  great  court  is  hung  with  festoons  (on  the 
frieze)  and  decorated  with  the  vine  and  its  grapes 
(on  the  architrave). 

The  bulls'  heads  with  festoons  are  represented  on 
the  frieze  as  they  once  were  on  the  altars  of  old 
when  at  the  festival  the  Feast  of  the  Sacrifice  was 
celebrated.  (Refer  to  the  same  subject  in  The  Court 
of  the  Four  Seasons.) 

In  stately  procession  around  the  sunken  garden 
are  seen  the  Canephori  bringing  their  jars  of  nec- 
tar. 

The  Canephori  in  old  Greek  days  were  the  maid- 
ens that  formed  part  of  the  great  processions,  such 
a  one  as  the  Panethenaea,  carrying  on  their  heads 
baskets  which  held  the  consecrated  temple  furni- 
ture, to  be  deposited  at  the  end  of  the  long  march 
in  the  temple. 

Here  the  sculptor  has  taken  the  license  of  repre- 
74 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

senting  men  with  the  maidens,  and  instead  of  bas- 
kets has  used  vases. 

This  idea  of  the  festival  is  strongly  accented  at 
night  when  you  are  transported  to  old  Greek  and 
Roman  days. 

Follow  after  this  procession  and  you  will  notice 
that  Paul  Manship's  "Joy  of  Living,"  or  "  Mo- 
tion," as  it  is  also  called,  has  entered.  The  joyous 
girls  in  perfect  abandon  are  coming  to  join  the 
happy  throng.  They  bring  their  offerings  in  the 
shape  of  great  wild-rose  festoons,  well  suited  to 
the  "Wild  Roses"  who  carry  them. 

Near  by  is  Paul  Manship's  "Music,"  adding  the 
song,  and  the  music  of  the  lyre. 

As  a  last  touch  you  will  find  the  nations  of  the 
Occident  and  the  nations  of  the  Orient  marching 
into  this  Court  of  the  Universe  to  take  part  in  the 
festival  in  celebration  of  one  of  the  greatest  events 
of  history — the  opening  of  the  Panama  Canal. 

At  night  comes  the  illumination,  as  a  climax  to 
the  festival,  and  gradually  the  lights  die  down  and 
all  is  still — just  for  a  few  hours  only,  for  day  will 
dawn,  for  is  not  the  Rising  Sun  ever  with  us — and 
another  day  of  festivity  will  come,  and  yet  more  at 
this  greatest  festival  that  the  world  has  ever  known. 


75 


THE  TOWER  OF  JEWELS— By  Thomas  Hastings 


THE  TOWER  OF  JEWELS 

ARCHITECT — Thomas  Hastings  of  New  York. 

Architecture — Italian  Renaissance  with  Byzan- 
tine features. 

This  great  Triumphal  Arch  symbolizes  the  Pan- 
ama Canal,  the  jewel  today  that  is  most  resplen- 
dent. 

It  is  433  feet  high.  In  cold  weather,  owing  to  the 
contraction  of  the  steel,  it  is  said  to  be  four  inches 
shorter  than  in  warm  weather. 

The  arch  is  110  feet  high  and  60  feet  broad. 

The  tower  is  in  seven  lifts,  surmounted  by  the 
earth  with  its  shimmering  jewels.  You  are  remind- 
ed that  the  whole  earth  is  affected  by  this  stupen- 
dous piece  of  engineering  (the  Panama  Canal). 

The  figures  on  the  pedestals  of  the  arch  are  by 
John  Flannagan  of  New  York,  and  they  represent : 

1.  The  Adventurer,  the  type  of  man  of  the  16th 

century  who  pushed  out  into  the  wilderness 
of  the  southwest. 

2.  The  Priest,  the  type  of  man  who  came  to  con- 

vert the  country  in  the  16th  century. 

3.  The  Philosopher,  who  by  his  fine  knowledge  of 

the  Greek  and  Latin  manuscripts  was  able 
77 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

to  disseminate  knowledge  in  the  16th  century 
thruout  the  new  regions. 

4.  The  Warrior,  the  type  of  16th  century  soldier 
who  came  to  conquer  the  country. 

On  the  first  tier  you  meet  the  Armoured  Horse- 
man by  Tonetti,  the  type  of  colonizer  of  the  16th 
century. 

Now  look  at  the  equestrian  statues  that  stand  on 
either  side  of  the  Tower.  That  on  the  right  is  Cor- 
tez  (by  Chas.  Niehaus),  the  conqueror  of  Mexico — 
the  man  who  wrested  Mexico  from  Montezuma  for 
the  kingdom  of  Spain. 

On  the  left,  Pizarro  (by  Chas.  Rumsey),  the  con- 
queror of  Peru,  who  gained  for  Spain  the  land  of 
the  Incas. 

The  country  north  of  the  Panama  region  was 
conquered  by  the  Spanish.  That  on  the  south  of 
Panama  was  also  the  Spanish  land. 

It  is  time  now  to  read  the  inscriptions  on  the 
south  side  of  the  tower : 

1501 

Rodrigo  de  Bastides,  pursuing  his  course  beyond  the 
West  Indies,  discovers  Panama. 

1513 

Vasco  Nunez  de  Balboa,  crossing  the  Isthmus  of 
Panama,  discovers  the  Pacific  Ocean. 

78 


PALACES  AND  COURTS  OF  TPIE  EXPOSITION 
1904 

The  United  States,  succeeding  France,  begins  op- 
erations on  the  Panama  Canal. 
1915 

The  Panama  Canal  is  opened  to  the  commerce  of 
the  world. 


The  United  States  has  put  thru  the  canal,  so  the 
American  eagle  with  outstretched  wings  is  seen  as 
a  decorative  motive  on  either  side  of  the  Tower — 
with  telling  suggestions. 

The  hand  of  the  law  is  governing  the  commerce 
of  the  Panama  Canal,  hence  you  receive  that  gentle 
reminder  in  the  Roman  insignia,  the  fasces. 

In  the  old  Roman  days  of  the  kingdom,  as  well 
as  in  the  days  of  the  Roman  republic,  the  lictor 
marched  in  front  of  the  head  of  the  State  carrying 
the  fasces,  those  twelve  birch  rods  with  the  ax, 
indicating  punishment  and  then  death  if  the  laws 
were  not  obeyed. 

The  fasces  are  seen  at  the  extreme  ends  of  the 
wings  of  the  tower. 

It  is  interesting  to  see  this  same  device  used  in 
the  Liberal  Arts  Palace  and  in  the  Educational 
Palace — especially  in  reform  exhibits  or  such  ex- 
hibitions as  the  New  York  Educational  Exhibit, 

where  the  hand  of  state  is  suggested. 

79 


PALACES  AND  COURTS  OP  THE  EXPOSITION 

The  laurel  wreath  on  the  tower  is  another  speak- 
ing motive. 

The  vessels  push  out  in  all  directions  from  the 
Panama  Canal.  You  get  that  suggestion  at  the 
corners  of  the  third  lift. 

Don't  lose  sight  of  the  beautiful  turquoise  green 
columns  in  the  temple  forms  of  the  Tower.  At  night 
the  aquamarines  follow  out  the  same  beautiful 
color. 

Watch,  when  the  Tower  is  first  illuminated  with 
the  blood  glow,  and  you  will  see  that  it  almost  pul- 
sates with  life.  It  should,  for  is  it  not  the  vital  part 
of  this  great  Exposition  ? 


JEWELS  ON  THE  TOWEE 

There  are  some  ten  tons  of  jewels  used  at  the 
Exposition. 

50,000  jewels  are  used  on  the  Tower  alone,  ac- 
centing in  the  main  its  architectural  feature. 

These  jewels  are  of  five  colors. 

Mostly  canary  and  white  glass,  ruby,  emerald, 
aquamarine. 

Mathematical  calculations  have  been  made  by  ex- 
pert physicists  to  show  at  just  what  angle  the  jewel 
must  be  cut. 

These  jewels  were  made  in  Austria. 

Nearly  every  village  in  Austria  has  its  glass 
80 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

workers — the  finest  workers  in  their  line  in  the 
world. 

Sand  of  a  peculiar  quality  is  most  carefully  pre- 
pared, mixed  with  other  ingredients,  the  whole  be- 
ing brought  to  a  molten  state. 

This  glass  is  then  poured  into  molds. 

It  is  taken  out  of  the  molds,  the  casts  being  care- 
fully trimmed  by  hand.  The  principal  tool  used  is  a 
rotating  sanded  wheel. 

The  prism  is  polished  by  hand  with  tin,  so  as  to 
make  the  facets  perfectly  smooth.  This  glass  must 
be  very  hard  in  order  to  reflect  sufficiently  well. 

The  glass  is  called  Sumatra  Stone.  It  is  tinted  to 
counterfeit  jewels.  These  jewels  are  held  in  place 
by  metallic  bands  from  which  extend  small  arms  at 
the  back  of  each  jewel  to  hold  tiny  mirrors  which 
assist  in  the  reflection. 

Each  jewel  is  suspended  from  a  hook  so  that  it 
is  in  constant  vibration,  in  order  to  catch  the  rays 
of  light  most  advantageously. 


As  you  have  now  rehearsed  your  history  and  have 
in  mind  what  has  been  done  by  the  United  States 
in  regard  to  the  Panama  Canal  (the  Tower  of  Jew- 
els), walk  thru  the  Court  of  the  Universe  to  the 
Esplanade  where  stands  the  Column  of  Progress. 

81 


THE  COLUMN  OF  PROGRESS 

The  prototype  of  this  column  is  seen  in  Trajan's 
Column  in  the  Forum  of  Trajan  or  in  the  Column 
of  Marcus  Aurelius,  in  Rome. 

ARCHITECT — Symmes  Richardson,  one  of  the  juni- 
or partners  of  the  firm  of  McKim,  Meade  and 
White  of  New  York. 

The  bas-reliefs  at  the  base  are  by  Isadore  Konti, 
of  New  York. 

The  sum  of  all  human  effort  is  represented.  Man 's 
spiritual  progress  is  seen  on  the  four  sides  of  the 
base. 

Atlas  rolling  the  heavens  suggests  the  passage  of 
time. 

Men  with  their  different  ideals  in  the  long  pro- 
cession of  progress  are  seen.  Some  go  manfully  on, 
some  fearfully,  some  feel  the  need  of  the  sword  to 
win  their  way,  others  find  companions  necessary, 
but  all  of  these  men  and  women  must  have  faith 
(represented  by  the  two  meaningful  women  at  the 
door),  the  hope  of  the  palm  of  victory,  and  hear  the 
bugle  call  as  they  go  on  their  upward  climb. 

They  pass  before  us,  these  men  and  women  of 
different  aspirations,  and  disappear  from  view. 

83 


THE  ADVENTUROUS  BOWMAN  ' ' — By  Hermon  A.  McNeil 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Up,  up  they  climb. 

At  the  top  of  the  column  is  Herinon  A.  McNeil's 
Burden  Bearers. 

11  All  must  toil  to  win"  and  some  must  bend  their 
backs  that  others  may  rise.  Has  it  not  been  so  at  the 
Panama  Canal? 

Have  not  many  done  the  labor  that  the  United 
States,  the  Adventurous  Bowman,  may  win? 

This  purposeful  type*  of  manhood,  with  magnifi- 
cent decision,  has  just  drawn  the  bow,  and  on  has 
sped  the  arrow  of  success. 

The  bowman  looks  to  see  it  hit  the  mark. 

The  man  on  the  right  possibly  is  one  of  his  aids. 

The  little  woman  at  his  side  will  know  by  his 
eyes  if  the  arrow  has  gone  home,  and  she  will  then 
bestow  upon  him  the  laurel  wreath  and  the  palm  of 
victory  which  she  holds  in  her  hand.  She  stands 
ready  to  help  him. 


See  the  group  from  the  sea-wall  directly  in  front 
of  the  Column  of  Progress  for  the  splendid  pur- 
pose expressed  in  the  figure  and  on  the  face  of  the 
*  *  Adventurous  Bowman. ' ' 

Many  San  Franciscans  would  like  to  have  this 
wonderful  group  duplicated  in  bronze  to  remain 
permanently  with  the  city  of  the  Exposition  of 
1915. 

85 


THE  COUET  OF  THE  AGES 

AND  NOT  THE  COUET  OF  ABUNDANCE 

ARCHITECT — Louis  Christian  Mullgardt  of  San 
Francisco. 

Architecture — If  one  could  call  this  beautiful 
architecture  by  name  one  might  say  Spanish  Goth- 
ic, on  account  of  the  round-arched  Gothic  and  also 
the  Spanish  finials  used,  but  it  is  so  thoroughly 
original  that  this  is  hardly  the  term  to  use.  It  is 
Romanesque  in  its  vaulting  of  the  corridor,  and  at 
first  glance  in  its  great  square  tower,  and  arches, 
and  yet  not  Romanesque  architecture. 

It  is  suggestive  of  the  last  period  of  English 
Gothic  in  its  rich  parallelism  of  vertical  line — and 
yet  is  not  that. 

It  is  suggestive  of  the  flamboyant  decoration  of 
the  French  architecture  such  as  one  sees  and  feels 
at  Rouen  Cathedral — and  yet,  not  that,  for  on 
looking  closer  one  sees  not  wavy  line  suggesting 
name,  but  the  wave  of  the  kelp  of  the  sea — and 
then  one  realizes  that  the  vertical  lines  represent 
falling  water. 

The  kelp  is  turned,  looped  and  suspended  with 
all  sorts  of  lobsters,  crabs,  sea-turtles,  octopi,  floun- 

87 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

ders,  etc.,  wriggling  thru  it,  not  seen  at  first,  then 
in  strong  evidence,  making  you  wonder  why  you 
had  not  seen  them  before. 

The  whole  cloister  represents  the  magical  power 
of  water  and  fire  worked  out  in  travertine,  foun- 
tains and  illuminations. 

This  court  certainly  shows  the  most  marked 
originality  in  the  architectural  line  at  the  Exposi- 
tion. It  is  the  conception  of  a  man  of  rare  inven- 
tion, imagination,  and  marked  poetic  feeling.  It  is 
surely  the  last  word  in  stucco.  Everybody  loves 
this  Court  of  the  Ages,  and  everybody  wishes  that 
we  could  have  something  permanent  like  it  some- 
where— perhaps  in  San  Francisco.  We  shall  all  be 
loath  to  part  with  it  when  the  two  hundred  and 
eighty-eight  days  are  gone. 

The  arches  of  perfect  proportions  are  allowed 
two  swinging  fairy  lanterns  apiece — a  soft  glow 
coming  from  them. 

In  the  corridors  are  globes  which  at  night  look 
like  lambent  moonstones,  casting  soft  light. 

Walk  down  the  corridors  (not  noticing  the  glori- 
ous murals  at  the  ends)  to  observe  the  fine  manipu- 
lation of  color. 

Notice  that  the  usual  pink  of  the  walls  has  here 
a  deeper  tone — a  terra-cotta  warmth  added,  making 
a  most  wonderful  combination  with  the  blue  vault 

88 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

above.  The  arches  are  of  smoked  ivory.  Your  eye 
catches  a  line  of  cerulean  blue  at  your  side,  and  up 
you  follow  the  blue,  until  it  gains  its  fullest  ex- 
pression in  the  square  area  of  the  groined  vaulting. 
Notice  how  bands  of  smoked  ivory  play  the  part  of 
transverse  arches.  It  is  so  very  beautiful  here. 

The  murals  in  this  corridor  are  more  wonderful 
than  words  can  tell.  They  are  by  Frank  Brangwyn 
of  London,  and  represent  Earth,  Air,  Water,  Fire. 

Earth — Two  canvases  represent  the  Earth,  the 
teeming,  opulent  earth  giving  of  its  fullness.  Men 
with  great  baskets  gather  the  harvests  of  vegetables 
and  fruits  (especially  the  luscious  grapes  in  the 
second  canvas). 

Fire — One  canvas  shows  Primitive  Fire,  where 
by  means  of  leaves  and  twigs  the  narrow  curl  of 
smoke  ascends  between  the  trees.  Men  on  bended 
knees  blow  the  slowly  burning  leaves  and  fan  the 
flame. 

The  aged  draw  near  to  feel  the  warmth ;  nearer 
comes  the  man  with  the  little  child  in  his  arms — 
and,  as  a  result,  we  have  a  homely  woodland  scene 
of  primitive  times. 

The  second  representation  of  the  same  subject 
glows  on  the  next  canvas. 

The  subject  is  Industrial  Fire.  Men  have  made  a 
rude  furnace  in  which  the  pots  are  being  baked. 

89 


WATER  '  '—By  Frank  Brangwyn 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Pots  of  all  sizes  and  shapes  are  being  brought  by 
the  men  and  women  of  the  neighboring  region. 

The  great  cloud  of  blue  smoke  rises  in  increasing 
breadth  and  height  thru  the  trees. 

Don't  fail  to  notice  the  wonderful  skies  in  these 
two  canvases. 

Water — On  a  portion  of  land  between  two  wa- 
ters men  and  women  have  sauntered  down  to  the 
water's  edge  to  fill  their  jars.  The  flamingoes,  birds 
of  the  water,  stand  in  the  foreground  telling  you 
that  water  is  near.  Plants  grow  luxuriantly  on  the 
banks.  Pregnant  clouds  are  blown  nearer  and  near- 
er. The  canvas  is  fairly  moist  with  watery  sugges- 
tions. 

It  would  not  be  hard  to  realize  when  you  look  at 
this  canvas  that  it  was  done  by  a  man  who  under- 
stands the  art  of  making  stained-glass  windows.  He 
cannot  keep  his  secret  from  you. 

The  second  treatment  of  Water — Great  brawny- 
armed  fishermen  are  pulling  in  their  heavy  net.  In 
the  distance  come  men  with  baskets  on  their  heads 
to  carry  away  the  wriggling  fish.  Beyond  the  trees 
the  heavy  moisture-laden  clouds  come  nearer  and 
nearer. 

Air — A  great  windmill  such  as  one  sees  in  Frank 
Brangwyn's  etchings  (for  he  lived  during  his 
youth  in  the  windmill  country,  making  what  he  saw 
around  him  his  own). 

91 


PALACES  AND  COURTS  OP  THE  EXPOSITION 

The  wind  has  brought  the  storm-laden  clouds  and 
the  rain  is  descending.  The  currents  of  moisture- 
laden  air  are  reflecting  the  rainbow.  The  great 
wheat  field  bends  far  forward  as  the  wind  blows 
over  it. 

.  The  belated  harvesters,  the  foremost  with  his 
winnowing  sieves,  are  blown  forcibly  along  their 
path. 

The  many  flowers  bend  their  heads  under  the 
forward  movement  of  the  breeze.  It  is  most  inter- 
esting to  notice  how  many  devices  have  been  used 
in  order  to  make  the  work  as  suggestive  as  possible. 

The  second  treatment  of  Air.  The  great  trees  are 
most  noble  in  their  strength. 

Men,  strong  like  the  trees,  are  shooting  thru  the 
air  their  arrows. 

A  flock  of  frightened  white  birds  are  cutting  the 
air,  showing  you  why  the  men  are  there.  This  is  a 
simple  but  clever  treatment  of  the  subject. 


If  you  would  know  why  you  feel  that  there  is 
something  ancestral  in  these  glorious  compositions, 
why  the  strong  colors  are  so  well  combined,  why 
the  canvases  breathe  freedom  of  thought  and  action, 
why  the  distances  are  so  marvelously  expressed, 
why  the  sky  and  water  are  just  that  deep  wonder- 
ful blue,  read  Sparrow's  "Frank  Brangwyn"  and 

92 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

you  will  soon  discover,  and  the  appreciation  for  the 
pictures  will  be  increased  tenfold. 


Now  step  down  into  the  Cloister,  so  that  you  can 
see  well  Helios,  the  setting  sun.  This  was  the  primi- 
tive man's  idea  of  the  setting  sun.  He  saw  the  sun 
as  a  man  holding  a  huge  golden  ball,  splashing 
down  into  the  waters  of  the  west.  The  serpent  rep- 
resents the  burning  sting  of  the  sun. 

You  are  bound  to  reflect  here  that  the  sun  has 
thrown  off  great  nebulous  masses  and  that  one  of 
those  masses  has  cooled  and  that  we  now  call  it  the 
Earth.  Yonder  it  is,  seen  at  the  end  of  the  fountain, 
with  four  streams  of  water,  from  prehistoric  sea 
life,  playing  over  it. 

Pass  along  to  the  first  group  beyond  Helios, 
realizing  that  Robt.  Aitken,  the  sculptor,  calls  this 
"  The  Dawn  of  Life."  From  right  to  left  are  these 
figures : 

1.  The  Hand  of  Destiny  Giving  Life. 

2.  The  Prenatal  Sleep  of -Woman. 

3.  The  Awakening. 

4.  The  Joy  of  Living. 

5.  The  Kiss  of  Life. 

6.  The  Bringing  Forth  of  Life. 

The  elemental  feelings  are  here  suggest ed. 
93 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

You  will  then  notice  a  gap  which  stands  for  the 
unknown  period  of  history  _  after  the  first  "Dawn 
of  Life."  '_ 

Now  pass  to  Panel  1  (facing  Helios). 

The  central  figure  is  Vanity,  one  of  the  compel- 
ling motives  of  that  early  life. 

Following  are  two  fine  figures  carrying  their 
children,  expressing  the  idea  of  the  fecundity  of  the 
early  races. 

A  hermes  divides  this  panel  from  the  next.  Since 
in  classic  times  a  herm,  or  hermes,  was  used  to 
mark  distances  on  the  roads,  so  here  the  hermes 
is  used  to  mark  distances,  or  periods  in  time. 


Panel  2 — We  now  see  the  successors  of  the  children 
of  the  previous  panel  grown  to  manhood.  The  fact 
of  Natural  Selection  inflicts  itself  upon  man.  Two 
women  are  attracted  to  the  same  male,  a  fine  intel- 
lectual and  physical  type.  The  rejected  suitors  are 
seen  at  the  end  of  the  panel,  one  in  anger,  the 
other  in  despair. 


Panel  3  is  called  The  Survival  of  the  Fittest. 
This  is  the  suggestion  that  physical  strength  de- 
cides who  shall  survive.  We  notice  that  chieftains 

95 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

struggle  to  possess  the  same  woman,  a  woman  on 
the  right  endeavoring  to  separate  them. 


Panel  4  is  called  The  Lesson  of  Life. 

Elders  of  experience  attempt  to  give  counsel  to 
the  love-lorn  and  impetuous,  knowing  that  impulse 
may  sometimes  be  a  poignant  foe. 

Returning  to  Panel  1,  the  two  figures  at  the 
right  represent  Lust,  another  of  the  strong  forces 
of  the  early  peoples. 

You  have  now  reached  your  first  group  beyond 
the  gap. 

The  first  figure  is  Greed,  the  third  motive  in  this 
history  of  life.  He  has  been  holding  onto  the  ma- 
terial things  of  life — there  they  are,  rolled  into  a 
great  ball.  He  realizes  how  futile  his  life  has  been 
and  looks  back  upon  the  past,  longing  to  retrace 
his  steps  and  live  to  nobler  purpose. 

Then  comes  the  old  man  who  has  the  spiritual 
understanding,  and  he  knows  that  the  only  hope 
for  his  companion  is  the  realization  of  the  spiritual, 
the  consciousness  of  immortality,  and  so  he  gives  to 
her  the  winged  beetle,  the  symbol  of  renewed  life. 

The  time  has  now  arrived  for  her  to  leave  her 
mortal  life,  and  she  passes  into  that  sleep  by  which 
her  material  body  is  cast  aside. 

Thereby  the  man  has  his  first  sorrow.  She  whom 
96 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

he  loved  is  gone,  and  he  is  cast  down  in  despair — 
because  his  outlook  is  not  a  spiritual  one. 

The  hand  of  Destiny  has  drawn  these  lives  unto 
itself.  The  law  has  been  fulfilled. 

I  have  taken  the  liberty  of  culling  the  chief  ideas 
from  the  article  on  the  subject,  written  for  the 
November  '  *  International  Studio, ' '  adding  a  few 
ideas  which  seem  consistent  with  the  work  before  us. 


This  fountain,  done  in  pierced  relief,  is  most 
decorative  in  the  Court  of  the  Ages.  It  is,  from  a 
technical  standpoint,  a  most  remarkable  composi- 
tion. 

The  next  subject  for  study  is  The  Tower.  Notice 
the  small  spire  atop.  It  is  like  the  fieche  on  the 
French  cathedral  and  helps  in  the  French  feeling 
which  you  had  when  you  thought  that  you  had  dis- 
covered the  flamboyant  style,  and  yet,  on  the  whole, 
it  is  more  the  style  of  Spanish  towers  than  of  the 
French. 

Most  of  the  figure  work  on  the  tower  is  by  Ches- 
ter Beach,  formerly  of  San  Francisco. 

The  groups  on  the  tower  are  now  to  be  con- 
sidered. 

The  combined  work  is  called  The  Rise  of  Civiliza- 
tion. 

97 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  lowest  group  is  Primitive  Man  during  that 
period  when  great  reptiles,  like  th  saurian  in  the 
foreground,  crept  over  the  earth ;  when  man  fought 
,with  huge  serpents  and  gigantic  lions. 

The  rude  man  in  the  center  has  his  child  on  one 
arm,  the  other  arm  protecting  his  mate  (not  an 
ordinary  position  for  the  arm  of  primitive  man). 

You  easily  surmise  that  trouble  is  near.  His  look 
of  dogged  defiance  tells  you  that  he  is  marching 
forth  to  meet  some  enemy,  man  or  beast.  This  is 
the  first  march  of  civilization — one  in  which  brute 
strength  plays  the  principal  part. 


Just  above,  you  notice  that  civilization  has  now 
reached  the  mediaeval  stage  and  you  see  the  Crusa- 
der with  cross  on  breast  and  sword  in  hand.  He  has 
reached  this  lofty  position  thru  faith  (represented 
by  the  priest)  and  war  (suggested  by  the  rude 
warrior).  The  spiritual  has  now  been  added  to  the 

physical. 

At  the  side  of  the  tower,  holding  the  same  posi- 
tion on  the  tower  as  does  the  Crusader,  are  sugges- 
tions of  the  crusader's  tomb  such  as  one  sees  in 
many  of  the  English  churches.  The  Crusader  passes 
on  and  his  place  is  taken  by  more  advanced  types. 


On  either  side  of  the  Crusader  appears  the  pas- 
chal candlestick  (which  at  night  is  illuminated). 

98 


PALACES  AND  COURTS  QF  .TB^,  EXPCSI/HpN*    ^ 

You  are  app  reaching  Jth£  altar!  " 

Above  is  the  Priestess  of  Religion,  with  the  nim- 
bus surrounding  her  head.  At  her  feet  are  children 
holding,  one  a  book,  indicating  faith,  and  the  other 
the  wheel,  meaning  progress. 


Around  the  court,  on  the  highest  pinnacles,  are 
cocks,  signifying  the  dawn  of  Christianity  (in  refer- 
ence to  Peter's  denying  Christ). 


Come  back  to  the  tower  and  you  will  notice  a  man 
and  a  woman  on  either  side  of  the  altar.  They  are 
rising  from  the  primitive  man  and  the  primitive 
woman  at  their  feet.  They  represent  the  man  and 
the  woman  of  today.  In  the  case  of  the  man,  you 
will  notice  how  primitive  man  holds  on  to  him  and 
how  the  man  of  today  endeavors  to  shake  him  off. 
(The  man  of  today,  by  the  power  of  thought,  is 
trying  to  shake  the  rude  brutish  nature  off.) 

(These  figures  are  by  Albert  Weinert.) 


Primitive  Man  and  Primitive  Woman,  by  Albert 
Weinert,  are  seen  as  finials  around  the  court.  He  is 
a  simple  hunter,  or  a  man  whose  pastime  consists 
in  such  amusement  as  feeding  fish  to  the  pelican. 
She  is  a  woman  whose  chief  work  is  to  rear  chil- 
dren. 

99 


}  CQURT?  OF  THE  EXPOSITION 

Leo  Lefttelii's  Aquatic  Maids  are  grouped  at  the 
bases  of  the  columns  in  front  of  the  tower.  It  was 
at  first  planned  to  have  the  fountains  play  to  the 
top  of  the  columns  on  which  sit  the  aquatic  maids 
shooting  their  arrows  into  the  waters,  but  a  change 
in  the  plans  left  the  aquatic  maids  high  and  dry, 
hence  your  wonderment  at  why  they  sit  aloft. 

(Leo  Lentelli  was  born  in  Bologna,  Italy,  but  now 
lives  in  New  York.) 

The  Italian  cypresses,  tall  and  slender,  stand  like 
sentinels  in  front  of  the  arches. 

Orange  trees,  ten  feet  in  height,  heavy  with  fruit, 
stand  in  opulence  before  the  cypresses. 

Balled  acacias,  with  repeated  regularity  of  shape, 
produce  in  this  charming  cloister  a  delightful  for- 
malism. 

Solid  beds  of  pink  hyacinths  add  a  glowing  touch 
of  color  in  this  beauteous  garden. 

The  creeping  juniper  is  the  border  used. 

The  cistus  is  the  border  used  around  the  other 
beds.  Under  the  trees  are  planted  calceolarias,  ge- 
bara,  Shasta  daisies,  potentilla,  columbine,  and 
many  other  showy  flowers. 

The  conventional  standards  at  the  south  end  of 
the  cloister  are  aids  in  the  illumination. 

This  court  is  most  beautiful  at  night. 
100 


PALACES  AND  COURTS  OF  THE  EXPOSITION,  ,     j 

The  tower,  in  white  light/ hasjilie  gfowiifg  candle- 
sticks in  striking  evidence. 

Great  clouds  of  seeming  incense  rise  constantly 
from  the  altars  ranged  around. the  court.  Fiery  ser- 
pents belch  fire  into  the  basins  below.  Beneath  the 
world  and  around  it  rises  the  steam,  which  is  mar- 
velously  illuminated. 


THE  NORTH  COURT  OF  THE  AGES 

Eucalypti,  acacias,  English  laurel  and  veronicas 
are  banked  close  together  in  this  court.  Great  beds 
of  orange  eschscholtzia,  the  California  poppy,  make 
this  court  a  veritable  Field  of  the  Cloth  of  Gold. 

The  creeping  juniper  is  the  border  used. 

Sherry  Fry's  "Listening  to  the  Sound  of  the 
Ages"  stands  in  this  court  with  her  shell  to  her  ear. 
She  listens  to  the  stories  that  the  sea  has  told  the 
shell,  and  wonderful,  very  wonderful,  is  what  she 
hears. 


101 


COURT  OF  THE  FOUR  SEASONS 

It  will  be  noticed  that  this  court  is  planted  main- 
ly with  grey-green  foliage,  the  banner  poles  being 
of  the  same  color. 

FLORA 

Olive  trees. 

Choisya  ternata. 

High-grade  acacias. 

Coprosma  (from  Chili — a  shiny-leafed  shrub  on 

north  front). 
Eucalypti. 

Cotoneaster  bufolia  (border). 
English  yews  in  couples  of  three  groups. 
Cypresses. 
English  laurel. 


ARCHITECT — Henry  Bacon  of  New  York. 

Architecture — Italian  Renaissance. 

There  is  a  strong  feeling  of  the  architectural  in- 
fluence of  Hadrian's  Villa,  near  Rome,  when  the 
eye  rests  on  the  half  dome  and  also  on  the  treat- 
ment of  the  columns  in  front  of  the  fountains  of 
the  seasons. 

This  is  one  of  the  chief  beauty  spots  of  the  Ex- 
position. A  quiet,  reposeful,  happy  place  where 
103 


PALACES  AND  COURTS  OP  THE  EXPOSITION 

birds  have  built  their  nests  and  where  they  sing 
their  carols  of  spring. 

As  you  pass  into  this  court  from  the  bay,  or 
north  side,  your  attention  is  drawn  almost  imme- 
diately to  the  bucrania,  or  bulls'  heads,  between 
festoons  of  flowers. 

This  is  only  a  Renaissance  motive,  but  the  mind 
wanders  back  to  the  harvest  festivals  of  olden  days, 
when,  after  the  great  harvest  procession  was  over, 
the  bulls  were  sacrificed  to  the  gods  as  a  reward  for 
the  abundant  harvest.  The  same  idea  is  worked  out 
in  "The  Feast  of  the  Sacrifice,"  the  magnificent 
bull  groups  atop  the  pylons  (by  Albert  Jaegers), 
where  youths  and  maidens  lead  the  bulls  in  the 
harvest  procession.  Great  garlands  suggest  the  fes- 
tivity. 

The  whole  court  is  ^n  expression  of  the  abun- 
dance of  the  harvests — especially  those  of  Cali- 
fornia. 

Ceres,  the  goddess  of  agriculture,  with  her 
wreath  of  cereals  and  her  corn  sceptre,  has  just 
poised  on  the  top  of  the  lovely  fountain  (by  Mrs. 
Evelyn  Longman),  the  die  of  which  tells  you  by  its 
cameo  figures  that  this  is  the  fountain  of  young, 
fresh,  joyous  nature.  The  graceful,  happy  creatures 
with  garlands  and  fruits  glide  past  you  in  song, 
105 


THE  FOUNTAIN  OF  CERES  ' ' — By  Evelyn  Beatrice  Longman 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

shaking   the    tambourine   or    softly   piping   their 
roundelays. 

Jolly  satyrs,  the  happy  creatures  of  the  wood- 
land, spout  water  into  the  basin  below. 


The  Food  Products  Palace  is  on  one  side,  the 
Agricultural  Palace  on  the  other,  and  the  sugges- 
tions worked  out  in  the  corn  of  the  Ionic  capital, 
the  cereal  wreaths  on  the  frieze,  the  sheaves  of 
wheat,  are  most  happy  decorations  for  just  this 
court. 

Pass  to  the  Pool  beyond  and  stop  to  read  the 
quotation  (from  Spenser's  "Faerie  Queene  ")  on 
the  western  gateway. 

' '  So  forth  issew  'd  the  seasons  of  the  yeare 
First  lusty  spring  all  dight  in  leaves  and 

flowres 
Then  came  the  jolly  sommer  being  dight  in  a 

thin  silken  cassock  coloured  greene 
Then  came  the  autumne  all  in  yellow  clad 
Lastly  came  winter,  clothed  all  in  frize 
Chattering  his  teeth,  for  cold  that  did  him 
chill." 

Facing  the  half  dome,  walk  first  to  the  second 
niche  to  the  right  of  the  colonnade  to  examine  Furio 
Piccirilli's  Seasons. 

Spring — A  pyramidal  group  with  Spring  with 
her  flowers  in  the  center  of  the  group.  To  the  right 
107 


PALACES  AND  COURTS  OF  THE  EXPOSITION7 

is  modest,  timid,  fresh  young  Flora,  bringing  her 
wealth  of  flowers. 

To  the  left,  one  sees  man  adoring,  bringing  to 
mind  Tennyson's  lines  from  Locksley  Hall. 

' '  In  the  spring  a  young  man 's  fancies 
Lightly  turn  to  thoughts  of  love. ' ' 

Here  is  that  fine  feeling  that  one  has  in  beautiful 
springtime — the  adoration  for  all  fresh  young  life. 
Look  above  now  at  Milton  Bancroft 's  murals  to  left 
and  right.  He  has  done  all  of  the  murals  in  this 
court. 

"Spring"  is  here  in  floral  dress  and  the  shep- 
herd pipes  sweet  notes. 

"Seed-time" — This  is  the  time  when  the  seed 
bag  stands  open  so  that  the  crops  for  the  coming 
year  may  be  sown. 


Marble  group  of  Summer — Go  to  the  left,  along 
the  corridor  beyond  the  gateway,  to  the  second 
niche — this  group  expresses  fruition. 

The  mother  brings  to  her  husband  the  babe,  the 
fruit  of  their  love. 

The  laborer  at  the  right  brings  in  the  first  har- 
vest. __ 

MURALS 

Summer — This  is  the  period  of  the  year  when 
man  amuses  himself,  when  the  games  are  in  prog- 
108 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

ress.  One  sees  the  disc  thrower  at  the  left  resting 
after  the  game.  Summer  is  crowning  the  victor  of 
the  canoe  race. 

Fruition — Fruits,   vegetables,   flowers  fulfill  the 
meaning  of  the  subject. 


Now  pass  out  into  the  open  to  the  niche  at  the 
left  of  the  gateway  of  the  east. 

In  the  niche  is  Autumn,  a  mature  figure  indica- 
tive of  the  maturity  of  the  year.  (Mr.  Piccirilli 
calls  her  Providence.)  It  is  the  time  of  the  harvests. 
The  apples,  the  grapes,  and  even  the  human  family 
are  being  harvested.  The  wine  is  being  made  and 
the  great  vine-decked  jars  are  filled  with  the  ruby 
fluid. 


MURALS 

Autumn — The  colors  speak  of  autumn.  Here  is 
seen  the  amphora  of  wine,  the  tambourine,  the  rhy- 
ton,  the  Greek  drinking  horn,  and  the  raised  Greek 
cup — all  suggesting  the  time  of  festivity  after  the 
harvests. 

Harvest,  and  one  sees  the  garnered  wheat  and 
vegetables. 


Standing  between  the  two  central  columns  and 
looking  toward  the  half  dome,  the  eye  wanders  to 
109 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

the  summit,  and  there,  seated  on  her  great  cornu- 
copia, the  symbol  of  abundance,  is  Harvest  with 
her  plenteous  supply  of  luscious  fruits. 

The  dates  from  the  south  are  being  borne  in  on 
one  side,  while  the  great  sheaves  of  wheat  are  seen 
on  the  left. 


Standing  on  the  pedestal  at  the  right  of  the  half 
dome  is  Rain  (by  Albert  Jaegers)  catching  the 
drops  in  her  shell. 

Sunshine  (by  Albert  Jaegers)  shielding  her  eyes 
with  the  long  palm  branch — the  rain  and  the  sun- 
shine so  necessary  for  the  harvests. 

Walk  over  to  see  the  detail  of  the  capitals  and 
bases  of  the  columns. 

On  the  capitals  of  these  pedestals,  on  which  Rain 
and  Sunshine  stand,  are  the  small  figures  of  har- 
vesters— a  most  charming,  original  treatment. 

At  the  bases  one  sees  harvest  scenes. 

The  agriculturalists  pass  along  to  their  labors. 
The  women  and  children  accompany  the  laborers, 
expecting  to  help  in  the  many  duties  of  the  harvest 
field.  The  dog,  wagging  his  tail,  follows  after  the 
children,  and  all  is  activity. 


You  will  now  find  it  convenient  to  examine  the 
murals  on  either  side  the  great  half  dome. 

110 


PALACES  AND  COURTS  OF  THE  EXPOSITION 
FACING  THE  DOME 

On  the  right  is  Man  Receiving  Instruction  in  Na- 
ture's Laws.  The  work  is  perfectly  plain.  You 
could  not  go  astray  if  you  simply  read  the  inscrip- 
tions. 

An  interesting  thing  to  notice  is  that  "Mother 
Earth"  is  a  man  bearing  fruits  and  that  "Father 
Neptune"  is  a  woman  with  a  trident. 

Nature 's  laws  are  applied  to : 
Earth,  Water,  Fire. 

Love,  Life  (protecting  the  name  of  life)  and 
Death. 

On  the  left  is: 
Art  Crowned  by  Time. 

The  queen  of  art  with  her  sceptre  and  palette 
(with  the  suggestion  of  architecture  in  the  temple 
in  the  background)   is  crowned  by  Father  Time, 
holding  his  hour-glass.  His  scythe  is  seen  in  the 
background.  Time  is  bestowing  the  laurel  wreath. 
At  the  sides  stand  the  arts  of— 
Jewelry  making, 
Weaving, 
Glass  making, 
Painting, 
Smithery, 
Pottery. 

Ill 


PALACES   AND   COURTS  OF  THE  EXPOSITION 

The  emerald  pool  is  before  you  wreathed  with 
the  cotoneaster  bufolia  with  its  wealth  of  red  ber- 
ries.   

Pass  now  to  the  last  season  of  the  year  in  the 
niche  to  the  left  of  the  half  dome. 

Winter. 

Before  you  is  naked  winter.  Back  of  her  is  the 
leafless  tree,  with  splitting  bark. 

At  the  left  one  feels  that  man  rests  after  the 
activities  of  the  harvest  season,  but  there  is  an  add- 
ed idea  in  Mr.  Piccirilli's  words,  "In  winter,  the 
central  fig-lire  is  Nature  resting,  or  rather  in  a  state 
of  conception.  To  the  right  an  old  man  is  resting 
after  having  prepared  the  soil  for  the  seed;  at  the 
right  a  strong  man  is  sowing." 

MURALS 

Winter  with  the  snow  on  the  ground. 

The  fire  is  necessary ;  faggots  have  been  gathered ; 
the  animals  are  brought  in  for  the  winter  food. 

The  time  for  spinning  has  arrived  during  the 
long  winter  evenings  (considering  the  life  of  today 
this  idea  is  almost  obsolete). 

Festivity — Winter  strikes  the  strings  of  the  harp 
and  gaiety  is  about  to  glide  forth. 


The  seasons  are  again  suggested  by  names  of  the 
signs  of  the  zodiac  on  the  gateways, 
113 


WINTER  ' ' — By  Furio  Piccirilli 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Aries,  Taurus,  Gemini,  Cancer,  Leo,  Virgo,  Libra, 
Scorpio,  Sagittarius,  Capricornus,  Aquarius,  Pis- 
ces.   

Look  thru  the  entrance  into  the  Court  of  Palms 
at  the  Horticultural  Palace  across  the  way — a  fine 
green  and  white  picture. 

Turn  hack  into  the  Court  of  the  Four  Seasons 
and  below  the  half  dome  will  be  seen  Albert  Jae- 
ger's 

Nature  (there  is  a,  great  probability  that  this 
will  not  be  placed). 

Mother  Earth,  the  great  mother,  sits  in  the  center. 

On  the  left,  carrying  the  shell,  is  the  Sea. 

On  the  right,  upholding  the  globe,  is  the  Heav- 
ens. 

Read  George  Sterling's  quotation  from  the  Tri- 
umph of  Bohemia  to  make  the  connection  with  your 
Nature  group : 

' '  For  lasting  happiness  we  turn  our  eyes  to  one 

alone 

And  she  surrounds  you  now 
Great  Nature,  refuge  of  the  weary  heart,  and 

only  balm  to  breasts  that  have  been 

bruised 

She  hath  cool  hands  for  every  fevered  brow 
And  gentlest  silence  for  the  troubled  soul." 

115 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Near  by  are  August  Jaeger's  figures  of  Abun- 
dance, four  times  repeated  on  each  gateway;  also 
his  spandrel  figures,  still  adding  harvest  thoughts. 


Walk  along  the  colonnade  to  the  right — 

As  you  pass  the  fountains,  you  will  notice  how 
the  water  slips  its  silvery  pink  reflection  from  the 
wall  down  the  terraces  into  the  pool  below,  produ- 
cing almost  a  sunrise  or  a  sunset  effect. 

The  long  hanging  vine  on  the  wall  above  is  muh- 
lenbeckia,  the  so-called  maidenhair  vine. 

The  shorter  vine  is  lotus  bertolletti,  showing  later 
its  red  claw-like  flowers. 


117 


THE  COURT  OF  PALMS  — By  Geo.  Kelham 


COURT  OF  PALMS 

As  a  balance  to  the  Court  of  Flowers  at  the  east 
end  of  the  block  of  palaces  is  the  Court  of  Palms 
at  the  west  end. 

The  general  effect  in  color  of  decoration  is  pink 
and  blue. 

The  columns  are  coupled  Ionic  of  smoked  ivory, 
producing  a  most  lovely  effect  against  the  pastel 
pink  walls  back  of  them. 

The  caryatids  lining  off  the  pink  and  blue  mar- 
ble panels  show  a  soft  flush  of  pink.  (These  are  by 
A.  Stirling  Calder  and  John  Bateman.) 

The  festoons  of  fruits  at  the  side  of  the  panels 
are  accented  in  deeper  blues  and  soft  reds. 

Notice  the  delicate  figures  on  either  side  the  car- 
touche over  the  portals.  The  pinks  and  blues  are  so 
delightfully  combined. 

Between  the  columns,  against  the  wall,  are  balled 
acacias. 

The  Pool  in  the  center  of  the  Court  might  be 
called  The  Pool  of  Reflections. 

In  front  of  this  Court  is  "The  End  of  the  Trail/' 
by  James  Earle  Fraser. 

Before  you  is  the  end  of  the  Indian  race.  The 
119 


PALACES  AND  COURTIS  OF  THE  EXPOSITION 

poor  Indian,  following  his  long  trail,  has  at  last 
come  to  the  end.  The  worn  horse  and  its  rider  tell  a 
long,  pathetic  story. 

By  the  entrances  are  great  vases  on  which  in  low 
relief  are  Bacchanalian  scenes.  Satyrs  form  part  of 
the  handles. 


On  the  doorways  are  beautifully  colored  murals. 

On  the  west — 

Fruits  and  Flowers,  by  Childe  Hassam,  a  fine 
area  of  superb  color. 

On  the  east — 

The  Pursuit  of  Pleasure,  by  Chas.  Holloway, 
gracefully  carrying  out  the  idea  of  this  court. 

On  the  north — 

"Victorious  Spirit,"  by  Arthur  F.  Matthews. 

This  wonderful  golden  note  represents  the  Vic- 
torious Spirit,  the  Angel  of  Light,  with  wide-spread 
wings  of  protection.  She  is  the  means  by  her  gentle 
influence  of  keeping  materialism  (represented  by 
the  horse  driven  by  brute  force)  from  Tiding  over 
the  higher  expressions  of  life. 

Muhlenbeckia  borders  the  pool,  producing  a  most 
fernlike  effect. 

At  the  side,  in  front  of  the  flanking  Italian  Tow- 
ers, are  erica  and  epacris,  in  lavenders  and  pinks, 
accented  by  deep  lavender  pansies. 
121 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  tiny  border  to  the  beds  is  myrtus  regni. 
The  wallflowers,  interspersed  with  Spanish  and 
English  iris,  are  massed  thruout  this  court,  with 
rhododendrons  in  the  corners.  Against  the  founda- 
tions is  pink-and-cream  lantana. 

The  Palm  is  the  strong  feature  of  the  court.  On 
either  side  the  portal  Italian  cypresses  have  been 
used. 

The  lanterns  in  the  corridors  have  been  modeled 
from  Roman  lamps,  and  are  particularly  beautiful 
in  perspective. 


122 


THE  COURT  OF  FLOWERS 

Dedicated  to  the  Oriental  Fairy  Tales. 

This  exquisite  court  is  by  Geo.  Kelham  of  San 
Francisco,  who  came  from  New  York  just  after  the 
San  Francisco  fire  to  help  in  the  reconstruction  of 
the  city. 

He  is  a  man  of  pronounced  ability  and  has  just 
won  in  the  competition  for  plans  for  the  new  San 
Francisco  Public  Library. 

The  court  is  made  one  of  great  beauty  by  the  col- 
laborated work  of  Mr.  Geo.  Kelham,  the  architect; 
Mr.  Jules  Guerin,  the  colorist;  and  Mr.  John  Mc- 
Laren of  San  Francisco,  the  chief  of  landscape  gar- 
dening. 

A  loggia  runs  around  the  second  story  of  the 
court,  interrupted  along  the  face  by  niches  which 
hold  "  The  Oriental  Flower  Girl/'  designed  by  Mr. 
A.  Stirling  Calder  of  New  York,  but  worked  out 
in  the  studio  of  the  Exposition. 

Coupled  columns,  suggesting  glacial  ice,  form  a 
colonnade  around  three  sides  of  the  court,  the 
fourth  side  opening  into  the  Avenue  of  Palms. 

As  you  walk  down  the  main  path  of  this  court 
you  are  held  spell-bound  by  the  fairy-like  appear- 
123 


PALACES  AND  COURTS  OP  THE  EXPOSITION 

ance  of  the  albizzia  lophantha,  trimmed  four  feet  in 
height,  the  top  of  which  branches  out  into  a  head 
five  feet  across. 

One  has  the  feeling  of  meeting  fairies  with  their 
skirts  out  ready  for  the  dance — a  veritable  fairy 
ballet.  Nothing  could  be  more  lovely  than  this  re- 
markably treated  tree.  The  rich  yellow  fluff  that 
will  soon  appear,  lasting  for  some  four  to  £ix  weeks, 
will  be  one  note  of  the  yellow  chord  to  be  struck  in 
this  court — pansy,  daffodil,  albizzia,  the  orange  and 
the  yellow  background  of  niches.  (This  floral  music 
for  March  and  April.) 

A  symphony  in  yellows. 

The  groups  of  trees  at  the  north  are  the  eugenia 
myrtifolia. 

Every  one  appreciates  the  blessing  of  the  trees 
and  flowers,  without  which  the  Exposition  would 
have  lost  much  of  its  beauty. 

The  flowers  used  at  the  opening  of  the  Exposi- 
tion can  alone  be  given,  but  these  will  serve  to 
show  the  plan  of  arrangement. 

The  six  lions  are  by  Albert  Laessle,  who  has  many 
fine  examples  of  his  animal  life  in  the  Fine  Arts 
Palace. 

The  fountain  of  Beauty  and  the  Beast,  which 
should  have  been  placed  in  the  Court  of  Palms,  the 
Court  of  Occidental  Fairy  Tales,  is  by  a  young  San 
124 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Franciscan,  Edgar  Walters,  whose  fine  bears  can 
be  seen  in  the  Fine  Arts  Palace. 

The  base  of  the  fountain  shows  a  procession  of 
beasts — the  bear,  the  cynocephalus  ape,  the  lion. 

Upholding  Beauty  and  the  Beast  are  fauns  and 
satyrs,  playing  on  their  pipes. 


Walk  down  the  colonnades  and  take  note  of  the 
coupled  smoked  ivory  pilasters  on  the  pink  ground. 

A  fawn-colored  ceiling  has  suspended  from  it 
Italian  bronze  lanterns — the  bronze  suggestive  of 
the  color  of  the  blue  eucalyptus.  At  night  these 
lanterns  glow  with  color. 

In  front  of  the  Court  of  Flowers  is."  The  Ameri- 
can Pioneer/'  a  fine  meaningful  equestrian  figure, 
by  Solon  Borglum  of  Ogden,  Utah. 

I  am  taking  the  libert}^  of  quoting  Secretary 
Lane's  inspiring  words  given  at  the  opening  of  the 
Exposition — a  fine  retrospect  that  we  must  not  lose 
sight  of  when  we  look  upon  the  determined  woods- 
man, of  the  early  American  life : 

"  As  I  went  through  these  grounds  yesterday,  I  looked  for 
some  symbol  that  would  tell  me  the  true  significance  of  this 
moment.  I  saw  that  the  sculptor  had  carved  prophets,  priests 
and  kings;  he  had  carved  the  conquerors  of  the  earth,  the 
birds  in  the  air  and  the  fish  in  the  sea.  He  had  gone  into 
legend  and  history  for  his  symbols,  but  in  none  of  these  did 
I  find  the  suggestion  that  I  sought. 

125 


• '  THE  AMERICAN  PIONEER  ' ' — By  Solon  Borglmu 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

' '  I  found,  however,  in  the  court  that  lies  before  us,  the 
simple,  modest  figure  hidden  behind  some  soldiers — a  gaunt, 
slim,  plodding  figure,  and  I  said  to  myself,  there  is  the  fig- 
ure that  represents  this  day,  for  without  the  American 
pioneer  we  would  not  be  here  this  day,  no  banners  would  be 
flying,  no  bands  playing. 

1 1  He  has  lived  for  centuries  and  centuries.  He  took  sail 
with  Ulysses  and  he  was  turned  back.  He  took  sail  with 
Columbus,  and  when  he  heard  that  sailor  shout,  ' '  Sail  on  and 
on/'  his  heart  was  glad;  but  Columbus  found  his  way 
barred,  and  then  this  pioneer  landed  at  Plymouth  Kock,  and 
with  that  band  of  oxen  he  has  trudged  his  way  across  the 
continent,  he  has  gone  through  the  sodden  forests,  where 
Nature  for  a  thousand  years  has  conspired  to  make  his 
pathway  impossible. 

1 '  He  has  gone  through  the  icy  streams,  climbed  the 
mountains,  tracked  his  way  over  the  plains,  over  the  land 
where  there  is  no  horizon,  gone  through  the  gorges  where 
the  Titans  have  been,  and  at  last  he  has  got  it,  beside  the 
Golden  Gate,  beside  the  sunset  sea,  and  founded  himself  this 
city,  this  beautiful  city  of  dreams  that  have  come  true.  And 
he  has  done  more  than  that,  he  has  gathered  around  himself 
his  sons,  and  now  they  set  themselves  down  here  to  tell  each 
other  tales  of  their  progress  through  the  centuries. 

' '  The  sons  of  the  pioneers — theirs  be  the  glory  today,  for 
they  have  slashed  the  continent  in  two,  they  have  cut  the 
land  that  God  made  as  with  a  knife,  they  have  made  the 
seas  themselves  to  lift  the  ships  across  the  barriers  and 
mountains,  and  this  accomplishment  we  celebrate. 

"  They  have  brought  the  waters  of  the  far  Sierras  and 
turned  these  waters  into  living  light  that  put  new  stars  in  the 
heavens  at  night.  They  have  hung  their  sky-line  with  a  garden 
127 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

of  flowers;  they  have  worked  a  magic.  They  have  gathered 
here  in  all  these  temples  to  tell  their  victory — the  pioneers — 
what  they  have  done  and  in  what  manner.  This  city  has  been 
finished  in  blue  and  gold,  in  scarlet  and  purples  and  the 
greens  of  the  sea,  and  burnt  brown,  and  the  scene  shown  the 
pioneer  has  made  the  architecture  of  the  centuries  to  march 
before  their  eyes  in  columns  and  colonnades. 

' '  The  long  journey  of  this  light  figure  of  the  pioneer  is  at 
an  end,  the  waste  places  of  the  earth  have  been  found  and 
filled,  but  adventure  is  not  at  an  end;  the  greatest  adventure 
is  before  us,  the  gigantic  adventures  of  an  advancing  democ- 
racy— strong,  virile  and  kindly — and  in  that  advance  we  shall 
be  true  to  the  indestructible  spirit  of  the  American  pioneer. ' ' 


128 


THE  ITALIAN  TOWERS 

ARCHITECT — Geo.  Kelham  of  San  Francisco. 

Architecture — Italian  Renaissance  with  Byzan- 
tine touches. 

These  very  beautiful  towers  are  seen  in  pairs  on 
either  side  The  Court  of  Flowers  and  The  Court  of 
Palms,  and  assist  in  the  fine  balance  preserved 
thruout  the  block  of  palaces. 

They  are  not  alike,  as  you  will  see  when  you  ex- 
amine them.  The.  pair  flanking  The  Court  of  Flow- 
ers is  far  simpler,  and  produces  quite  a  different 
effect,  when  illuminated,  from  its  sister  towers. 

The  vibrant  red  that  seems  to  give  throbbing  life 
to  these  beautiful  towers  is  one  of  the  chief  glories 
of  the  night-glow. 

The  entrances  at  the  base  of  the  tower  are  ac- 
cented by  magnificent  Siena  marble  columns,  and 
the  coloring  from  these  entrances  to  the  top  of  the 
towers  is  most  unique. 

The  long  rectangular  height  is  admirably  treated 
with  a  most  original  diaper  design. 

Jules  Guerin.  the  colorist,  has  used  small  areas  of 
color  on  the  towers  to  play  upon  the  color  of  the 

courts  below. 

129 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

For  instance,  note  the  pastel-pink  walls,  the 
greatest  color  area  of  the  courts  reflected,  as  it 
were,  upon  the  largest  colored  area  of  the  towers; 
the  travertine  of  the  courts  acting  as  a  background 
for  the  towers,  the  burnt  orange  capitals  shown  in 
the  use  of  the  same  color  on  the  tower,  the  Indian 
red  appearing  through  the  design  as  it  appears  on 
the  capital. 

The  result  is  a  sort  of  dissonance  that  makes  the 
harmony  of  the  courts  more  charming  than  ever. 

The  most  adroit  management  of  the  blue-check- 
ered border  is  seen.  It  is  the  means  of  drawing 
your  colored  diaper  work  toward  that  blue  back- 
ground, the  sky,  and  is  superb  in  its  connecting 
force. 

The  little  towers  above,  with  the  turquoise-blue 
columns,  show  a  most  daring  use  of  color  when  you 
consider  the  colors  below,  but  how  admirably  that 
turquoise  blue  works  onto  the  domes  and  the  blue 
columns  of  The  Tower  of  Jewels. 

The  longer  you  look  at  the  Italian  Towers  the 
more  you  come  to  feel  their  subtle  connection  with 
the  beauties  around. 

Only  a  genius  could  manipulate  his  colors  as 
Jules  Guerin  has  done  in  this  splendid  work  be- 
fore you. 

130 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  repeated  cartouche  in  turquoise  blue  has  a 
most  lovely  effect  upon  the  whole. 

Poised  on  the  top  of  the  Italian  Towers,  is  The 
Fairy  (by  Carl  Gruppe).  She  looks  afar  and  sees 
the  vision  of  this  wondrous  Exposition. 


131 


THE  PALACE  OF  FINE  ARTS 

ARCHITECT — Bernard  R.  Maybeck  of  San  Fran- 
cisco. 

Architecture — Old  Roman  in  the  main,  with 
Italian  Renaissance  features.  In  the  background  is, 
the  fire-proof  art  gallery  of  113  rooms. 

In  front  is  a  pergola,  extending  along  an  arc 
11.00  feet  from  end  to  end.  Ochre  columns  are  close- 
ly grouped  with  pale  green  ones. 

The  Roman  Corinthian  capitals  are  burnt  orange 
with  an  Indian-red  ground. 

The  columns  sweep  forward  on  either  side  the 
rotunda,  in  the  dome  of  which  are  Robt.  Reid's 
eight  murals. 

Four  represent  the  Four  Golds  of  California: 

1.  Wheat,  3.  Oranges, 

2.  Gold,  4.  Poppies. 
Four  represent  the  Arts: 

1.  The  Ideals  of  Art, 

2.  The  Birth  of  European  Art, 

3.  The  Birth  of  Oriental  Art, 

4.  Inspiration  in  all  Art. 

Below  these  murals,  on  the  octagonal  drum,  is, 
The  Priestess  of  Culture,  by  Herbert  Adams,  eight 
times  repeated. 

133 


A  CORNER  OF  THE  FINE  ARTS  PALACE 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  dome  of  the  Rotunda  is  burnt  orange,  with 
the  guilloche  below  it  worked  out  in  turquoise 
green. 

Notice  the  great  flower  receptacles  filled  with  the 
reddish  cryptomeria  of  Japan. 

In  front  of  the  Rotunda  is  Ralph  Stackpole's 
Kneeling  Figure.  She  is  a  devotee  to  art,  beauty, 
truth,  and  kneels  at  the  altar. 

Among  the  trees  along  the  pergola  are  many 
statues  in  bronze  and  marble. 

Don't  fail  to  see  Janet  Scudder's  bewitching 
fountain  figures  as  you  walk  past  the  Pergola. 

At  the  south,  near  the  Pool,  among  the  trees,  sits 
St.  Gauden's  fine  "Lincoln," 

Opposite  is  J.  Q.  R.  Adams'  statue  of  "Henri/ 
Ward  Beecher." 

Around  the  corner,  "  The  Bisons,"  by  Proctor. 

Follow  along  by  the  Pool  and  you  meet  "The 
Scout,"  by  Cyrus  Dallin. 

No  words  can  describe  the  great  poetic  beauty  of 
this  Fine  Arts  Palace.  It  seems  to  be  the  pivotal 
part  of  the  Exposition,  the  goal  of  all  pilgrimages, 
the  altar  on  which  you  place  your  ideals.  It  has  so 
many  moods  that  one  mtist  see  it  in  all  seasons, 
during  all  times  of  the  day,  and  especially  under 
the  illuminations. 

The  figure  of  "Aspiration,"  by  Leo  Lentelli  is 
135 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

suspended — as  is  all  aspiration — over  the  main  en- 
trance of  the  Fine  Arts  Palace. 

Walk  over  to  Administration  Avenue  so  that  you 
can  look  across  the  Pool  at  the  panels. 

They  are  by  Bruno  Zimm  of  New  York. 

They  represent  the  Arts  and  a  long  procession  of 
devotees. 

In  the  center  of  one  panel,  called  "  The  Unat- 
tainable in  Art,"  one  sees  Art  represented.  On 
either  side  is  the  battle  between  the  idealists,  the 
materialists  and  the  artists. 

Many  idealists  have  fallen,  but  the  centaurs,  the 
materialists,  seem  to  be  held  back  by  the  artists 
who  are  striving  to  reach  Art  herself. 

We  are  all  striving  to  reach  the  so-called  unat- 
tainable, but  it  means  the  battle  with  materialism 
before  we  can  do  it.  Yonder  stands  beauty,  health, 
truth — the  flowers  of  the  spirit — but  we  must  pass 
the  centaur  to  make  that  figure  of  Truth  attainable. 

Then  comes  the  Apollo  Panel,  and  Apollo,  the 
leader  of  the  arts,  in  his  chariot,  seems  to  be  in  a 
long  procession  preceded  and  followed  by  devotees 
of  the  fine  arts. 

Next  comes  the  Pegasus  Panel,  showing  Bele- 
rophon  about  to  mount  Pegasus.  Ahead,  marches 
Music  with  his  lyre,  who,  like  a  sort  of  Orpheus,  is 
stilling  even  the  beasts. 

137 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

The  figures  between  the  panels  represent  those 
who  stand  ready  to  do  battle  for  the  arts. 

Ulric  H.  Ellerhusen  has  done  the  floiver  boxes, 
with  women  at  the  corners.  Vines  were  to  have 
fallen  over  the  figures  from  the  boxes,  allowing  only 
a  shoulder,  a  head,  or  a  long  line  of  the  drapery  to 
appear,  but  the  plans  had  to  be  changed,  hence  the 
figure  now  in  full  evidence.  The  women  are  looking 
into  the  flower-laden  boxes. 

As  you  stand  by  the  Pool,  notice  the  shrubs  and 
flowers  near  by. 

Near  the  columns  are  the  wind-swept  Monterey 
cypresses. 

Grey-green  artemisia  is  planted  between  the  col- 
umns. 

10,000  periwinkles  are  on  the  banks. 

5000  Spanish  iris. 

Many  Japanese  iris. 

California  incense  shrub. 

Yellow  primroses. 

1000  white  callas. 

1000  yellow  callas. 

5000  California  violets. 

The  shiny-leaved  coprosma  from  Chili. 

Blue-flowered  buddleia. 

Groups  of  pittosporum. 

Pampas  grass  from  Brazil. 
138 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

Hundreds  of  daffodils  (in  March). 

The  weeping  willows. 

A  great  group  on  the  north  of  erica,  epacris,  and 
cryptomeria. 

Across  from  the  erica  is  the  red-berried  coton- 
easter  horizontalis.  . 

Near  the  columns  on  the  north  side  by  the  Pool 
grows  the  purple  agapanthus. 

The  Catalina  cherry  is  massed  against  the  build- 
ing on  the  north. 

The  pink-flowered  escallonia  is  found  under  the 
columns  near  the  Pool.  The  orange-berried  pyracan- 
tha  cretaegus  is  seen  in  all  its  glory  on  the  north. 

Heliotrope  makes  the  air  one  of  sweet  perfume. 

Poly  gala,  with  pea-like  blossom,  is  seen  near  the 
base  of  the  columns. 

In  the  Pool  have  been  put  500  papyrus  plants 
and  500  Japanese  water  lilies. 

These  are  a  few  of  the  many  wonderful  blooms 
seen  here. 

The  vistas  and  reflections  are  ever  new  and  beau- 
tiful from  every  turn  of  the  Pool. 


THE  ROTUNDA 

Around  the  octagon  is  seen  The  Priestess  of  Cul- 
ture, by  Herbert  Adams,  eight  times  repeated. 
Murals  by  Robt.  Reid : 

139 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

1st  Panel — Birth  of  European  Art. 

The  central  point  of  the  picture  is  the  altar  on 
which  is  seen  the  sacred  fire.  The  guardian  of  this 
altar  holds  the  torch.  She  has  three  attendants,  one 
holding  a  flask  of  oil,  one  pouring  oil  upon  the  altar 
and  ready  to  apply  the  torch  should  the  flame  grow 
dim,  a  third  one  carefully  watching  the  flame.  An 
earthly  messenger,  holding  back  his  rearing  steeds, 
leans  from  his  chariot  to  receive  the  torch  of  in- 
spiration. A  winged  attendent  checks  for  an  instant 
the  flight  of  these  steeds.  In  the  left  corner  a  woman 
holds  a  crystal  ball  in  which  the  future  of  art  is 
revealed. 

2nd  Panel— The  Birth  of  Oriental  Art. 

The  forces  of  earth  try  to  wrest  inspiration  from 
the  powers  of  the  air.  This  is  shown  in  an  ancient 
Ming  legend. 

We  see  a  Chinese  warrior,  mounted  on  a  writh- 
ing dragon,  combating  an  eagle.  Japan  is  seen  un- 
der the  great  umbrella,  Two  more  Oriental  figures 
are  seen. 

3rd  Panel — Ideals  in  Art. 

Greek  ideal  in  the  classic  nude  is  seen. 

Religion — Madonna  and  Child. 

Heroism — Joan  of  Arc. 

Youth  and  Material  Beauty — Young  woman  on 
the  left. 

140 


PALACES   AND   COURTS  OF  THE  EXPOSITION 

Absolute  nature  without  ideal  or  inspiration- 
peacock. 

Mystic  figure  in  background  holds  cruse  of  oil  to 
pour  onto  the  sacred  flame. 

A  winged  figure  floats  above  with  laurels  for  the 
victorious  living. 

A  shadowy  figure  in  foreground  holds  the  palm 
for  the  dead. 

Panel  4 — Inspiration  in  All  Art — 

Music,  Painting,  Architecture,  Poetry,  Sculpture. 

The  torch  that  kindles  the  arts  is  again  seen. 

The  veil  of  darkness  is  drawn  back,  revealing  the 
arts. 

[Gold, 

There  are  also  four  panels  showing  I  Wheat, 
the  four  golds  of  California —  1  Poppies, 

[Oranges. 

' '  The  whole  scheme  is  to  show  the  conception  and 
birth  of  art,  its  translation  to  earth,  its  progress 
and  acceptance  by  man." 

This  outline  has  been  taken  from  the  official  re- 
port. 


141 


PALACE  OF  HORTICULTURE 

ARCHITECTS — Bakewell  and  Brown  of  San  Fran- 
cisco. 

Architecture — Byzantine  in  the  arrangement  of 
the  domes  (the  mosque  of  Ahmed  I  of  Constanti- 
nople being  the  inspiration)  and  in  the  use  of  tall 
iinials  suggesting  minarets,  but  quite  French  in  its 
ornamentation. 

The  building  is  one  of  great  beauty  and  is  con- 
sidered one  of  the  finest  exhibit  palaces  ever  erected 
at  any  exposition. 

The  ornamentation  below  the  dome  is  by  Boutier. 

The  Caryatids  of  the  Caryatid  Porch  are  by  John 
Bateman  of  New  York. 

The  great  opulence  of  the  harvests  of  California 
is  brought  to  mind  by  the  lavish  abundance  of  the 
ornamentation  on  this  building. 

The  combination  of  the  smoked-ivory  color  of  the 
travertine  and  the  lattice  green  of  the  decorations 
p reduces  a  more  lovely  effect. 

The  basket  atop  is  over  thirty-three  feet  in  di- 
ameter. 

The  dome  is   152  feet  in  diameter.   St.  Peter's 
dome  is  137  feet ;  the  Pantheon  dome  is  142  feet. 
143 


PALACES  AND   COURTS  OF  THE  EXPOSITION 

Under  the  dome  will  be  a  constant  display  of  hot- 
house plants.  At  the  opening  of  the  Exposition 
were  seen  cinerarias  and  cyclamen  of  glorious  hue. 

A  wonderful  display  of  orchids  is  seen  in  another 
portion  of  this  great  building. 

Those  interested  in  orange  packing  will  have  a 
chance  to  see  the  different  stages  of  the  packing  as 
shown  from  the  arrival  of  the  fruit  at  the  packing- 
house to  the  nailing  of  the  cover  on  the  box. 

A  model  olive-oil  press  is  in  working  order  and 
will  afford  great  interest. 

Great  steel  framework  will  enable  the  vast 
amount  of  glass  of  the  dome  to  withstand  the  wind 
pressure. 

The  dome  will  be  illuminated  three  times  a  week. 

It  will  at  times  look  like  a  great  pearl  or  a  fiery 
opal. 

Luther  Burbank,  the  wizard  of  horticulture,  and 
Carl  Purdy,  of  bulb  and  wild  flower  fame,  will  have 
headquarters  at  this  palace  during  the  entire  Ex- 
position, ready  to  answer  and  help  those  who  apply 
to  them. 

Sixty-five  acres  of  land  are  to  be  devoted  to  hor- 
ticultural interests. 

The  Netherlands  have  53,000  square  feet  in  a 
wonderful  display  of  bulbs  and  other  plants. 

144 


PALACES  AND   COURTS  OF  THE  EXPOSITION 
HORTICULTURAL,  INTERESTS 

All  the  areas  on  the  Exposition  site  were  com- 
posed of  drifting  sands  or  sands  that  had  been 
pumped  in  from  the  bay,  upon  which  no  orna- 
mental plant  could  grow. 

It  was  necessary  to  bring  down  from  the  Sacra- 
mento Valley  rich  soil  (50,000  cubic  yards),  and 
spread  16,000  cubic  yards  of  fertilizer  over  that,  in 
order  to  maintain  lawns,  trees  and  shrubs. 


An  immense  number  of  trees,  ranging  from  30  to 
60  feet  in  height,  were  moved  from  Golden  Gate 
Park  and  the  Presidio  of  San  Francisco.  It  is 
the  largest  number  of  evergreen  trees  ever  moved 
in  connection  with  any  landscape  work. 

Many  plantings  will  be  made  thruout  the  Expo- 
sition. It  will  require  the  moving  of  400,000  plants 
each  time  a  change  is  made. 

Work  on  the  eucalyptus  trees  was  started  two 
years  ago,  when  the  plants  were  six  inches  high,  in 
flats. 

These  little  trees  were  transferred  into  other 
flats  and  placed  on  hot  beds.  After  six  weeks  of 
this  treatment  they  were  transferred  to  12-inch 
boxes.  They  remained  there  for  a  period  of  eight 
months  and  then  were  put  into  18-inch  boxes  and 

145  • 


PALACES  AND  COURTS  OF   THE  EXPOSITION 

made  a  vigorous  growth.  They  are  now  25  feet  in 
height. 

In  boxing  large  specimen  trees  the  following 
method  was  adopted:  The  trees  were  side-boxed, 
and,  after  the  roots  were  cut,  three  inches  of  space 
was  allowed  between  the  ball  and  the  sides  of  the 
box,  and  this  three-inch  space  was  secured  with 
good  surface  soil  so  as  to  start  side-root  action. 

The  plants  were  mulched  and  watered  for  a  pe- 
riod of  from  four  to  six  months,  when  the  bottom 
of  the  box  was  put  on.  This  method  has  been  most 
successful  in  transplanting  palms  and  trees  in  gen- 
eral. 

(These  facts  were  kindly  given  by  Mr.  Donald  McLaren 
of  the  Department  of  Landscape  Gardening,  San  Francisco.) 


146 


SOUTH  GARDENS 

Throughout  the  Exposition  these  garden  beds  are 
to  show  a  succession  of  blooms.  At  the  opening  of 
the  Exposition  five  thousand  daffodils  were  in 
bloom  over  two  hundred  thousand  yellow  pansies. 


The  South  Gardens,  besides  having  two  great 
pools,  at  the  end  of  which  are  the  Mermaid  Foun- 
tains by  Arthur  Putnam  of  San  Francisco,  have  a 
most  decorative  fountain  called  the  Fountain  of 
Energy. 

In  the  pool  below  are  seen  great  sea  animals,  rep- 
resenting : 

1.  The  Atlantic  Ocean,  with  coral  in  hair  and  sea- 

horses in  her  hand,  riding  on  the  back  of  an 
helmetted  fish,  suggestive  of  armored  cruisers, 
etc. 

2.  The  North  Atlantic,  an  Esquimaux  riding  the 

walrus,  ready  to  spear  the  enemy. 

3.  The  Soutli  Atlantic,  a  negro  riding  on  the  back 

of  a  sea-elephant  playing  with  an  octopus. 

4.  The  Pacific  Ocean  on  the  back  of  a  great  creature 

unknown  on  land  or  sea. 
147 


135 
•< 

t 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

111  the  pool,  on  the  dolphins'  backs,  ride  most 
charming  sea  maidens. 

Around  the  base  of  the  earth  are  grouped  sea 
spirits. 

The  earth  shows  on  one  side  a  great  bull  repre- 
senting the  Western  Hemisphere,  a  great  lioness 
denoting  the  Eastern. 

One  sees  the  swirling  of  the  waters  around  the 
figure  of  Panama. 

Surmounting  the  globe,  standing  in  his  stir- 
rups rides  Energy,  the  force  that  has  overcome  the 
play  of  the  waters  and  has  put  thru  the  Panama 
Canal.  Energy  is  strongly  suggested  by  this  stal- 
wart male,  who  rides  on,  having  surmounted  all  dif- 
ficulties. This  is  the  great  power  that  is  responsible 
for  the  completion  of  the  Panama  Canal,  and  Fame 
and  Victory  blow  bugles  long  and  loud  from  his 
shoulders. 

The  idea  of  energy  is  further  carried  out  by  the 
splendid  play  of  the  waters  from  the  fountain  itself, 
tremendous  force  being  evident. 


At  the  west  end  of  South  Gardens,  opposite  the 
Band  Concourse,  are  most  interesting  groups  of 
trees,  shrubs  and  flowers.  The  members  of  different 
floral  families  have  taken  the  opportunity  of  meet- 
ing and  establishing  themselves  in  the  same  neigh- 

149 


PALACES  AND   COURTS  OF  THE  EXPOSITION 

borhood,  and  the  result  is  delightful  for  the  lover 
of  flowers.  Now  is  the  time  to  study  differences  and 
similarities  in  the  plant  world — and  our  opportuni- 
ties are  appreciated. 

Notice  the  splendid  groups  of  trees  and  shrubs 
on  either  side  of  Horticultural  Palace. 

Monterey  pines,  Monterey  cypresses,  Lawson  cy- 
presses, acacias,  laurustinus,  veronicas  and  dahlias 
are  grouped  so  as  to  make  a  most  remarkable  effect 
in  form  and  color. 

The  Dracaena  Canariensis  or  Canary  palm,  as  we 
are  in  the  habit  of  calling  it,  and  the  Washingtonia 
robusta,  or  California  fan  palm,  are  seen  in  alter- 
nate arrangement,  double  rows  on  either  side  the 
Avenue  of  Palms. 

On  the  south  side  of  the  Exposition  grounds  is  a 
wall,  twenty  feet  high,  of  living  green.  It  is  made 
of  mesembryanthemum  spectabilis  put  in  boxes,  6 
feet  by  2  by.  2%  inches,  filled  with  earth,  over 
which  is  put  a  wire-mesh  screen.  This  is  the  first 
time  this  work  has  been  tried  and  it  has  proved  to 
be  a  thorough  success. 


150 


FESTIVAL  HALL 

ARCHITECT — Robt.  Farquhar  of  Los  Angeles, 
California,  widely  known  for  his  fine  domestic 
architecture. 

On  the  south  side  of  the  Avenue  of  Palms,  oppo- 
site the  Court  of  Flowers,  stands  the  building  in 
which  the  majority  of  the  musical  festivals  of  the 
Exposition  are  to  be  held. 

The  main  hall  will  hold  3000  people. 

There  are  about  500  conventions  to  meet  here 
during  the  time  the  Exposition  is  open. 

The  organ,  of  marvelous  tone  and  sweetness,  is 
one  of  the  finest  in  the  world. 

Edwin  H.  Lamare  of  London  will  give  one  hun- 
dred performances,  each  recital  beginning  at  12  M. 
He  starts  his  musicals  the  first  of  June. 

The  building  is  French  in  style,  having  been  in- 
spired by  the  Beaux  Arts  Theatre,  Paris. 

It  has  a  large  dome,  the  cupola  of  which  is  light- 
ed by  projectors  beneath  the  floor  of  the  building. 

Skerry  Fry  of  Iowa  has  done  the  sculpture,  all  of 
it  being  suggestive  of  festivity. 

Bacchus,  with  his  grapes  and  wine  skin,  reclines 
on  one  side,  while  "The  Reclining  Woman"  listens 
from  her  position. 

151 


PALACES  AND   COURTS  OF  THE  EXPOSITION 

On  the  west  are  two  Floras  with  their  festoons  of 
flowers. 

Little  Pan  sits  with  his  panpipes  on  an  Ionic 
capital  over  which  is  thrown  a  fawn  skin.  He  has 
just  stopped  playing  to  watch  the  lizard  that  creeps 
at  his  side. 

The  Torch  Bearer,  a  most  graceful  figure,  is 
poised  on  each  corner  dome. 

A  border  of  pinkish-lavender  hydrangeas,  four 
feet  in  diameter,  with  a  fringe  of  lavender  and  pink 
baby  primroses,  adds  much  to  the  beauty  of  this 
spot. 

Pinkish  -  lavender  erica,  or  heath,  borders  the 
steps  leading  from  Festival  Hall  to  the  Avenue  of 
Palms. 

Above  the  western  entrance  one  sees  the  old 
Greek  drinking  horn,  the  rhylon,  suggestive  of 
festivity. 


153 


COLORS 

Jules  Guerin,  probably  the  greatest  man  in  his 
particular  line  in  the  world,  has  had  complete 
charge  of  the  Exposition  coloring. 

He  has  used  only  five  colors,  but  of  course  these 
colors  are  not  all  the  same  tone. 

All  walls  are  pastel  pink,  or  a  sunset  shade,  as 
seen  in  the  Court  of  the  Ages.  All  niches  are  the 
same  shade. 

All  ceilings  and  shells  are  ultramarine  blue,  with 
two  exceptions.  The  Court  of  the  Ages  is  a  pastel 
blue,  and  that  of  the  Court  of  Palms  is  fawn-color. 

The  domes  of  the  Fine  Arts  Palace,  and  also  of 
the  Court  of  the  Universe,  are  burnt  orange,  or,  as 
one  writer  has  expressed  it,  ' '  sea-weed  washed  with 
brine." 

The  other  domes  are  an  oriental  green,  approach- 
ing copper-green. 

The  capitals  when  colored  are  burnt  orange,  with 
either  an  ultramarine-blue  or  an  Indian-red  ground. 
Columnettes  and  a  few  decorative  bands  are  of 
turquoise-green. 

The  world  has  never  seen  such  an  Occidental- 
Oriental  harmony  as  is  this  Exposition. 
154 


PALACES  AND  COURTS  OF  THE  EXPOSITION 

There  is  a  unity,  a  balance,  a  colored  beauty  all 
unto  itself — 

You  see  it  in  the  architecture,  sculpture,  and 
painting,  in  the  arrangement  of  the  decorations,  in* 
the  courts.  Then  over  it  all  hangs  the  spirit  of 
romance  such  as  surrounds  the  days  of  old  Castile. 

A  mediaeval  beauty  and  splendor  bring  longings 
for  the  pageants  that  would  add  a  world  of  interest. 

There  is  a  Grceco-Roman  appeal  in  the  long 
colonnades,  the  porticoes,  the  fountains,  the  great 
courts. 

The  Orient  is  strongly  marked  by  the  domes,  the 
minaret  suggestions,  the  elephants,  and  many  minor 
details. 

It  is  an  Arabian-Nights-Tale — not  a  thousand 
and  one  nights,  but  two  hundred  and  eighty-eight. 

The  red,  brown,  and  orange  Siena  marble  is  used 
mainly  at  entrances  and  for  pedestals.  The  traver- 
tine is  pinkish,  grey  and  cream.  Doorways  in  shad- 
ow are  of  lattice  green.  Flag -poles  are  colored  Span- 
ish red.  Lighting  standards  are  green,  ochre,  or 
eucalyptus  blue.  Banners  are  ochre  and  cadmium. 

These   palaces    and    courts    express    pronounced 

unity,  balance,  harmony  and  beauty — the  mingling 

of  Occidental  and  Oriental  devices.   There  is  the 

romance  of  old  Castile,  the  spirit  of  Greece  and 

155 


PALACES  AND  COURTS  OF   THE  EXPOSITION 


Rome,  the  traditions  of  the  olden  days  so  strongly 
worked  into  these 
more  than  he  can 
world  of  beauty. 


worked  into  these  palaces  and  courts  that  one  feels 
more  than  he  can  tell  when  wandering  in  this  dream 


15ft 


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